P. G. Wodehouse Quotes about Writing

It was one of the dullest speeches I ever heard. The Agee woman told us for three quarters of an hour how she came to write her beastly book, when a simple apology was all that was required.

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.

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

Beginning with a critique of my own limbs, which she said, justly enough, were nothing to write home about, this girl went on to dissect my manners, morals, intellect, general physique, and method of eating asparagus with such acerbity that by the time she had finished the best you could say of Bertram was that, so far as was known, he had never actually committed murder or set fire to an orphan asylum.

I love writing. I never feel really comfortable unless I am either actually writing or have a story going. I could not stop writing.

I never want to see anyone, and I never want to go anywhere or do anything. I just want to write.

Rex Stout's narrative and dialogue could not be improved, and he passes the supreme test of being rereadable. I don't know how many times I have reread the Wolfe stories, but plenty. I know exactly what is coming and how it is all going to end, but it doesn't matter. That's writing.

I should think it extremely improbable that anyone ever wrote for money. Naturally, when he has written something, he wants to get as much for it as he can, but that is a very different thing from writing for money.

I was writing a story, 'The Artistic Career of Corky,' about two young men, Bertie Wooster and his friend Corky, getting into a lot of trouble, and neither of them had brains enough to get out of the trouble. I thought: Well, how can I get them out? And I thought: Suppose one of them had an omniscient valet?

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?

I go in for what is known in the trade as 'light writing' and those who do that - humorists they are sometimes called - are looked down upon by the intelligentsia and sneered at.

I believe there are two ways of writing novels. One is mine, making a sort of musical comedy without music and ignoring real life altogether; the other is going right deep down into life and not caring a damn.

...there was practically one handwriting common to the whole school when it came to writing lines. It resembled the movements of a fly that had fallen into an ink-pot, and subsequently taken a little brisk exercise on a sheet of foolscap by way of restoring the circulation.

I just sit at a typewriter and curse a bit.

I know I was writing stories when I was five. I don't know what I did before that. Just loafed I suppose.

Success comes to a writer as a rule, so gradually that it is always something of a shock to him to look back and realize the heights to which he has climbed.

Dark hair fell in a sweep over his forehead. He looked like a man who would write vers libre, as indeed he did.