My advice to you, if you should ever be in a hold up, is to line up with the cowards and save your bravery for an occasion when it may be of some benefit to you.
There are a few editor men with whom I am privileged to come in contact. It has not been long since it was their habit to come in contact with me. There is a difference.
If there ever was an aviary overstocked with jays it is that Yaptown-on-the-Hudson, call New York. Cosmopolitan they call it, you bet. So's a piece of fly-paper. You listen close when they're buzzing and trying to pull their feet out of the sticky stuff. "Little old New York's good enough for us"--that's what they sing.
Yes, I get dry spells. Sometimes I can't turn out a thing for three months. When one of those spells comes on I quit trying to work and go out and see something of life. You can't write a story that's got any life in it by sitting at a writing table and thinking. You've got to get out into the streets, into the crowds, talk with people, and feel the rush and throb of real life-that's the stimulant for a story writer.
It gives men courage and ambition and the nerve for anything. It has the colour of gold, is clear as a glass and shines after dark as if the sunshine were still in it.
[A]ll of life, as we know it, moves in little, unavailing circles. More justly than to anything else, it can be likened to the game of baseball. Crack! we hit the ball, and away we go. If we earn a run (in life we call it success) we get back to the home plate and sit upon a bench. If we are thrown out, we walk back to the home plate -- and sit upon a bench.