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?

We must always remember, however,' said Psmith gravely, 'that poets are also God's creatures.

This was not Aunt Dahlia, my good and kindly aunt, but my Aunt Agatha, the one who chews broken bottles and kills rats with her teeth.

Many a man may look respectable, and yet be able to hide at will behind a spiral staircase.

As a dancer, I out-Fred the nimblest Astaire.

...smoking is just a habit. 'Tolstoy', she said, mentioning someone I hadn't met, 'says that just as much pleasure can be got from twirling the fingers'. My impulse was to tell her Tolstoy was off his onion, but I choked down the heated words. For all I know, the man might be a bosom pal of hers and she might resent criticism of him, however justified.

A man's subconscious self is not the ideal companion. It lurks for the greater part of his life in some dark den of its own, hidden away, and emerges only to taunt and deride and increase the misery of a miserable hour.