The men who act stand nearer to the mass of man than the men who write; and it is in their hands that new thought gets its translation into the crude language of deeds.
Just as I cannot remember any time when I could not read and write, I cannot remember any time when I did not exercise my imagination in daydreams about women.
Anyone who has the temerity to write about Jane Austen is aware of [two] facts: first, that of all great writers she is the most difficult to catch in the act of greatness; second, that there are twenty-five elderly gentlemen living in the neighbourhood of London who resent any slight upon her genius as if it were an insult to the chastity of their aunts.
For it would seem - her case proved it - that we write, not with the fingers, but with the whole person. The nerve which controls the pen winds itself about every fibre of our being, threads the heart, pierces the liver.
Any magazine-cover hack can splash paint around wildly and call it a nightmare, or a witches sabbath or a portrait of the devil; but only a great painter can make such a thing really scare or ring true. That's because only a real artist knows the anatomy of the terrible, or the physiology of fear.
In fiction writing ideas have to be handled extremely carefully. You can't let your characters just be mouthpieces for your ideas. They have to live and breathe on their own.
It helps to write down half a dozen things which are worrying me. Two of them, say, disappear; about two of them nothing can be done, so it's no use worrying; and two perhaps can be settled.
I do not waste my time writing pot-boilers: the pot must be boiled, and even my pot au feu has some chunks of fresh meat in it. ...I have no time to boil myself down; and anyhow I could not do so and preserve all the necessary nutriment and the flavoring on which the digestibility depends.