“[T]he 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, "What are my big scenes?" and then get every drop of juice out of them."(Interview, The Paris Review, Issue 64, Winter 1975)”

“[A]lways get to the dialogue as soon as possible. I always feel the thing to go for is speed. Nothing puts the reader off more than a big slab of prose at the start."(Interview, The Paris Review, Issue 64, Winter 1975)”

“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? 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 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 if 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."(Interview, The Paris Review, Issue 64, Winter 1975)”

“Every author really wants to have letters printed in the paper. Unable to make the grade, he drops down a rung of the ladder and writes novels.”

“You know how it is as a rule, when you want to get Chappie A on Spot B at exactly the same moment when Chappie C is on Spot D. There's always a chance of a hitch. Take the case of a general, I mean to say, who's planning out a big movement. He tells one regiment to capture the hill with the windmill on it at the exact moment when another regiment is taking the bridgehead or something down in the valley; and everything gets all messed up. And then, when they're chatting the thing over in camp that night, the colonel of the first regiment says, "Oh, sorry! Did you say the hill with the windmill? I thought you said the one with the flock of sheep." And there you are!”

“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.”

“Do you ever get moods when life seems absolutely meaningless? It's like a badly-constructed story, with all sorts of characters moving in and out who have nothing to do with the plot. And when somebody comes along that you think really has something to do with the plot, he suddenly drops out. After a while you begin to wonder what the story is about, and you feel that it's about nothing—just a jumble.”