I
a master-Poe, Maupassant, Kipling, Chekhov, as in God.
II
think your art is an unreachable summit. Do not dream on taming. When you do, you will get without knowing yourself.
III
Resist all you can to imitation, but imitation if the influence is too strong. More than anything else, the character development is a long patience.
IV
Ten no blind faith in your ability to win, but in the ardor with which you wish. Love your art as your girlfriend, giving all your heart.
V
not start writing without knowing the first word where you're going. In a story well done, the first three lines have nearly the importance of the last three.
VI
If you want to express precisely this circumstance: "From the river the wind blew cold," no more words in human language that aimed to express it. Once you own your words, do not worry if they see each other consonants or assonants.
VII
No adjectives unnecessarily. Useless few lines of color will adhere to a weak noun. If you find that necessary, he will only have a unique color. But you have to find it.
VIII
Take your characters by the hand and bring them firmly to the end, without seeing other than the path that traces. You do not get distracted seeing what they can or care to see. Do not abuse the reader. A story is a novel purified of rubble. Take this for an absolute truth, but it is not.
IX
not write under the sway of emotion. Let her die, and then evócala. If you are then able to revive it as it was, you got into art in the middle of the road.
X
not think of your friends to write, or print that will make your story. Account as if your story has no interest rather than the small area of \u200b\u200byour characters, of which you may have been one. Otherwise not get the life story.
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