It's not that I don't trust you, Dunstable, it's simply that I don't trust you.

...there occurred to me the simple epitaph which, when I am no more, I intend to have inscribed on my tombstone. It was this: "He was a man who acted from the best motives. There is one born every minute.

Skiing consists of wearing $3,000 worth of clothes and equipment and driving 200 miles in the snow in order to stand around at a bar and drink.

What ho!" I said. "What ho!" said Motty. "What ho! What ho!" "What ho! What ho! What ho!" After that it seemed rather difficult to go on with the conversation.

I think the success of every novel - if it's a novel of action - depends on the high spots. The thing to do is to say to yourself, 'Which are my big scenes?' and then get every drop of juice out of them. The principle I always go on in writing a novel is to think of the characters in terms of actors in a play. I say to myself, if a big name were playing this part, and if he found that after a strong first act he had practically nothing to do in the second act, he would walk out. Now, then, can I twist the story so as to give him plenty to do all the way through?

"After all, golf is only a game", said Millicent. Women say these things without thinking. It does not mean that there is any kink in their character. They simply don't realise what they are saying.

It has been well said that an author who expects results from a first novel is in a position similar to that of a man who drops a rose petal down the Grand Canyon of Arizona and listens for the echo.