What I try to do is write a story about a detective rather than a detective story. Keeping the reader fooled until the last, possible moment is a good trick and I usually try to play it, but I can't attach more than secondary importance to it. The puzzle isn't so interesting to me as the behavior of the detective attacking it.

Three times I have been mistaken for a prohibition agent, but never had any trouble clearing myself.

If you have a story that seems worth telling, and you think you can tell it worthily, then the thing for you to do is to tell it, regardless of whether it has to do with sex, sailors or mounted policemen.

When a man's partner is killed he's supposed to do something about it. It doesn't make any difference what you thought of him. He was your partner and you're supposed to do something about it. Then it happens we were in the detective business. Well, when one of your organization gets killed it's bad business to let the killer get away with it. It's bad all around-bad for that one organization, bad for every detective everywhere. Sam Spade

Nora said: 'I love you, Nicky, because you smell nice and know such fascinating people.

...What disturbed him was the discovery that in sensibly ordering his affairs he had got out of step, and not into step, with Life.

You're drunk, and I'm drunk, and I'm just exactly drunk enough to tell you anything you want to know. That's the kind of girl I am. If I like a person, I'll tell them anything they want to know. Just ask me. Go ahead, ask me.