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?

It was one of those days you sometimes get latish in the autumn when the sun beams, the birds toot, and there is a bracing tang in the air that sends the blood beetling briskly through the veins.

I don’t know if you have had the same experience, but the snag I always come up against when I’m telling a story is this dashed difficult problem of where to begin it.

Mere abuse is no criticism.

I believe the only way a writer can keep himself up to the mark is by examining each story quite coldly before he starts writing it and asking himself if it is all right as a story. I mean, once you go saying to yourself, 'This is a pretty weak plot as it stands, but I'm such a hell of a writer that my magic touch will make it okay,' you're sunk. If they aren't in interesting situations, characters can't be major characters, not even if you have the rest of the troop talk their heads off about them.

In every romance you have to budget for the occasional dust-up.

That is life. Just one long succession of misunderstandings and rash acts and what not. Absolutely.