In 1930 she published the novel generally regarded as her most famous work, Das Wunschkind ("The Wished-For Child"); two years later she became the first woman admitted to the Prussian Academy of Arts.

As a teenager, around the turn of the century Ina Seidel became involved with the exuberant arts scene focused in Munich's Schwabing quarter.

The next year, following the birth of her first child, Heilwig, she became ill with childbed fever, and the very slow rate of her recovery meant that she was stuck at home for much of the time; she never fully recovered.

[2][5] Like many of her social background in Germany and England, Ina Seidel's initial reaction to the outbreak of war in July 1914 was to welcome it.

[2] Seidel's work during her second Berlin period reflected the wider literary trends of the 1920s, displaying a new willingness to experiment.

[2] Despite appearing during the final part of the Weimar period, sales of Das Wunschkind took off only after the Hitler government took power in 1933.

In the view of at least one scholar, the book enjoyed official approval because of the extent to which it provides a "model for subsequent literary representations of motherhood that embraced Nazi ideology".

In October 1933 she was one of 88 high-profile authors who signed the Vow of Total Loyalty ("Gelöbnis treuester Gefolgschaft") to Adolf Hitler.

The final two lines of her tribute read, "Hier stehn wir alle einig um den Einen, und dieser Eine ist des Volkes Herz" (loosely, "Here we all stand united around the one [man], and that one man comes from the heart of the people").

[10] The poem was one she had originally presented to Adolf Hitler two years earlier on the occasion of the leader's (widely celebrated) fiftieth birthday.

[6] In 1942 she teamed up with Hans Grosser to produce Dienende Herzen, Kriegsbriefe von Nachrichtenhelferinnen des Heeres, a series of biographical essays which glorified the women supporting the army through war work.

Other war-time publications included biographical essays on the icons of German romanticism, Clemens Brentano and Achim von Arnim, which appeared in 1944.

The list was compiled by Joseph Goebbels and Hitler; it featured those whose artistic contributions the National Socialists valued most highly.