Early in my short-story career I hit upon the character of a traveling saleswoman named Mrs. Emma McChesney. I never had met or seen a traveling sale… - Edna Ferber

The writer given to rereading his or her past work is a writer in danger. Once you begin to mumble among your souvenirs you're through. Any writer who is properly a writer is working as long as he is alive or awake. It is virtually impossible for a writer to ride in the subway or on a bus, walk on the street or down a country road, telephone, read a book, talk, listen, breathe, without consciously or unconsciously sustaining the act of writing, in his mind at least. The analytical creative mind goes click-click-click while it is awake-and sometimes while it is asleep. It makes the writer's life interesting but somewhat feverish. Frequently one wishes it were possible to turn off the machinery that is eternally registering, collecting, discarding, filing. Writers are a tired lot, for the most part; and no wonder. It would be pleasant to know that these stories, some born long ago, others still young, have the strength and vitality to make new friends and even to renew old friendships. The writer herself is fond of them, or they would not be here. But the feeling is much that of a parent whose sons and daughters have married and gone off into the world. There they are, on their own at last, sink or swim, live or die. The author is finished with them, everything she can do for them has been done. And a new infant, not yet strong enough to walk alone, waits to be shown a way of life.

During World War I and World War II, I wrote few short stories. I wrote, in fact, little of anything other than propaganda, and for ordered propaganda writing I have scant ability. Thousands of fictional so-called war stories were written. Few possessed the slightest value. The best, in my opinion, were those published in The New Yorker during World War II. Some of these were brilliant, courageous, and carried a terrific impact.

It is a pattern of self-immolation familiar to any writer worth reading. The writer does not even remotely look upon this as a hardship. It is a way of life; a necessary an chosen way of life. Witty conversation, purposely dull dialogue, love, murder, marriage, birth, violence, triumph, failure, death—anything can happen in that room.