A Quote by P. G. Wodehouse

A certain critic -- for such men, I regret to say, do exist -- made the nasty remark about my last novel that it contained 'all the old Wodehouse characters under different names.' He has probably by now been eaten by bears, like the children who made mock of the prophet Elisha: but if he still survives he will not be able to make a similar charge against Summer Lightning. With my superior intelligence, I have out-generalled the man this time by putting in all the old Wodehouse characters under the same names. Pretty silly it will make him feel, I rather fancy.
Why prove to a man he is wrong? Is that going to make him like you? Why not let him save face? He didn't ask for your opinion. He didn't want it. Why argue with him? You can't win an argument, because if you lose, you lose it; and if you win it, you lose it. Why? You will feel fine. But what about him? You have made him feel inferior, you hurt his pride, insult his intelligence, his judgment, and his self-respect, and he'll resent your triumph. That will make him strike back, but it will never make him want to change his mind. A man convinced against his will is of the same opinion still.
When an old man and a young man work together, it can make an ugly sight or a pretty one, depending on who's in charge. If the young man's in charge or won't let the old man take over, the young man's brute strength becomes destructive and inefficient, and the old man's intelligence, out of frustration, grows cruel and inefficient. Sometimes the old man forgets that he is old and tries to compete with the young man's strength, and then it's a sad sight. Or the young man forgets that he is young and argues with the old man about how to do the work, and that's a sad sight, too.
I am by nature not a list-keeper, but I do keep lists of names and add at least one or two every single day without exception. First names, last names, middle names, combinations of. I've collected more over the years than I can possibly ever use in a single lifetime, but I keep the list going nonetheless. I tell my students that it's a habit, an act of attention, that will keep them engaged, keep them thinking about characters and stories, and how that match might get made.
Unlike most wars, which make rotten fiction in themselves - all plot and no characters, or made-up characters - Vietnam seems to be the perfect mix: the characters make the war, and the war unmakes the characters. The gods, fates, furies had a relatively small hand in it. The mess was man-made, a synthetic, by think tank out of briefing session.
I've made the decision to adhere to three general truths when it comes to my novels: There will be a love-story element to the story, the novel will be set in eastern North Carolina, and the characters will be likeable. Then, I make each novel unique through differences in voice, perspective, age and personalities of the characters, and of course, plot.
That is very fine; but it is impossible to make the men perfect; the men will always remain the same as they are now; and no legislation will make a man have more presence of mind, or, I believe, make him more cautious; and besides that, the next time such an accident occurs, the circumstances will be so different, that the instructions given to the men, in consequence of the former accident, will not apply.
I truly feel sorry to all the fans of the games I have made. Ninja Gaiden 2, which will launch on the 3rd of June will be the last Ninja Gaiden I will create. I will also never be able to make Dead or Alive 5. I regret the circumstances that have forced me to leave Tecmo, where I had worked for so many years, and I regret the disappointment this will cause my fans. However, I can no longer continue to work with President Yoshimi Yasuda, a man who chooses not to honor promises even when he is able to do so. I truly hope that nothing like this happens again in the future.
I am interested in names and what they say; it is true. I like to look at the columns of baby names in the newspapers. But I don't run out of new ones for my characters.
I have not created any characters nor have I changed my name. The last time I did, the band turned 20, and I said, "I'm going to stop changing my names. I'll present myself as Rubén Albarrán." During that time, I was visiting certain communities and one of them baptized me with my birth name. So I said, "OK, I've received it, now I will use it," and I have. If another one comes, then it will come, but it hasn't arrived yet and I'm fine for now.
What we suffer from today is humility in the wrong place...The old humility was a spur that prevented a man from stopping; not a nail in his boot that prevented him from going on. For the old humility made a man doubtful about his efforts, which made him work harder. But the new humility makes a man doubtful about his aims, which will make him stop working altogether.
I like straightforward names for my characters. When I get too symbolic with names or places, I start feeling like the characters and the story are less read, and I lose interest.
Attention spans are changing. It's very noticeable. I am very aware that the kind of books I read in my childhood kids now won't be able to read. I was reading Kipling and PG Wodehouse and Shakespeare at the age of 11. The kind of description and detail I read I would not put in my books. I don't know how much you can fight that because you want children to read. So I pack in excitement and plot and illustrations and have a cliffhanger every chapter. Charles Dickens was doing cliffhangers way back when. But even with all the excitement you have to make children care about the characters.
All who say the same things do not possess them in the same manner; and hence the incomparable author of the Art of Conversation pauses with so much care to make it understood that we must not judge of the capacity of a man by the excellence of a happy remark that we heard him make. Let us penetrate, says he, the mind from which it proceeds. It will oftenest be seen that he will be made to disavow it on the spot, and will be drawn very far from this better thought in which he does not believe, to plunge himself into another, quite base and ridiculous.
When you say the name Gilligan, you know who that is. If a show is good, if it's written well, you should be able to erase the names of the characters saying the lines and still be able to know who said it. If you can't do that, the show will fail.
I get bored with the same old film coming out every weekend. It feels like it's the same story all the time, and the same visuals, and the characters' dilemmas are remarkably similar.
Everything I make is with intention. I'm not very haphazard with my artist work, although I wish I was sometimes. I'm very conscious of the conversations I'm pushing about different threads and themes around landscape and characters that exist - how it's pictured, who's pictured it, who's owned it and who's been able to inhabit certain spaces. I have other interests as well. I'm really obsessed now with going to gay male dance clubs. I find those thrilling. I'm interested in what future characters can come.
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