Hitch your unconscious mind to your writing arm.

The most enviable writers are those who, quite often unanalytically and unconsciously, have realized that there are different facets to their nature and are able to live and work with now one, now the other.

Criticism and rejection are not personal insults, but your artistic component will not know that. It will quiver and wince and run to cover, and you will have trouble in luring it out again to observe and weave tales and find words for all the thousand shades of feeling that go to make up a story.

Most writers flourish greatly on a simple, healthy routine with occasional time off for gaiety.

The only difference between a problem and a solution is that people understand the solution.

The worst effect of party is its tendency to generate narrow, false, and illiberal prejudices, by teaching the adherents of one party to regard those that belong to an opposing party as unworthy of confidence.

Most of the methods of training the conscious side of the writer-the craftsman and the critic in him- are actually hostile to the good of the artist's side; and the converse of this proposition is likewise true. But it is possible to train both sides of the character to work in harmony, and the first step in that education is to consider that you must teach yourself not as though you were one person, but two.