A Quote by Gloria Vanderbilt

I don't categorize myself as an 85-year-old woman who has written an erotic novel. I categorize myself as a writer who's written an erotic novel. — © Gloria Vanderbilt
I don't categorize myself as an 85-year-old woman who has written an erotic novel. I categorize myself as a writer who's written an erotic novel.
I wouldn't categorize myself as R&B or hip-hop. I don't really know how to categorize myself. I'm still working out where I fit with that stuff. I kind of think of myself as pop.
To perceive is to categorize, to conceptualize is to categorize, to learn is to form categories, to make decisions is to categorize.
I have never started a novel - I mean except the first, when I was starting a novel just to start a novel - I've never written one without rereading Victory. It opens up the possibilities of a novel. It makes it seem worth doing.
A novel's whole pattern is rarely apparent at the outset of writing, or even at the end; that is when the writer finds out what a novel is about, and the job becomes one of understanding and deepening or sharpening what is already written. That is finding the theme.
Every once in awhile you find a novel so magical that there is no escaping its spell. The Night Circus is one of these rarities - engrossing, beautifully written and utterly enchanting. If you choose to read just one novel this year, this is it
I would say the reason that I've never written a novel is because I've never written a novel.
I don't see myself as a very important person. But I was the second woman to write a novel in Iran, and I have written most of the novels about Iranian women. In this way, maybe I have a good place in Iranian literature.
In the books by Ruy-Sanchez we find again the erotic conviction that allows us to read with all the skin. The erotic, in his narratives is not a subject or a phrase, it is the clay of what they are made. In his novels every experience, trivial or extraordinary, breaths through the erotic.
I'd never written a novel before, and I wrote a novel, and that turned out OK.
In the case of my second film The Fish Child (El Niño Pez), I had written the novel about 5 years before I made into a film. In the case of The German Doctor I had published the novel a year before I started writing the script, I even had another project to shoot. But I had this idea of the powerful cinematic language from the novel that I couldn't let go of.
I am the woman with the cool vintage glasses... I am the proud wife beside her husband... I am the writer who has written a new novel.
A novel, especially a first novel, is... really an emotional autobiography. All these emotions I'm embarrassed at having had, I've written about.
'The Dovekeepers' is a fantastic novel written by Alice Hoffman; it was a bestselling novel, and I fell in love with the book and bought the rights to it.
It's been a while since I've written a novel aimed at the adult market, but I never sit down and say to myself, 'Okay, now I'm going to write something for us old folks.' I get gripped by an idea, and I go where the idea takes me.
When I was writing my first novel, 'Elizabeth is Missing,' I was writing the only novel I had ever written and writing about the only protagonist I'd ever written about. Because of this, I didn't think of her as a construct. Maud was real.
The rules seem to be these: If you have written a successful novel, everyone invites you to write short stories. If you have written some good short stories, everyone wants you to write a novel. But nobody wants anything until you have already proved yourself by being published somewhere else.
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