A Quote by Joan D. Vinge

Here was a fragment of Goddess myth that, through all its permutations, had somehow escaped being turned on its head. It was the perfect springboard for the sort of novel I wanted to write.
I'm not sure that it's possible to write a novel about people who don't transgress or stumble, people who don't surprise themselves with the things they do, people who can explain all their actions with perfect logical consistency. At least it's not possible for me to write that sort of novel.
To all my friends, readers, and students: I apologize for not being able to write you directly, however the God and Goddess have given me new challenges to face. Upon hearing of all the support you are giving me, I am unimaginably grateful. I have no doubt that while there will be challenges to come, the God and Goddess will not be bringing me to the Summerland anytime soon. In perfect love and in perfect trust, Donald Michael Kraig
I was thinking about what I wanted to write next, after my first novel, and had decided that I wanted to write a story with a lot of strong female characters in it.
I always was interested in prose. As a teenager, I published short stories. And I always wanted to write the long short story, I wanted to write a novel. Now that I have attained, shall I say, a respectable age, and have had experiences, I feel much more interested in prose, in the novel. I feel that in a novel, for example, you can get in toothbrushes and all the paraphernalia that one finds in dally life, and I find this more difficult in poetry.
The myth is a surviving fragment of the psychic life of the infancy of the race whilst the dream is the myth of the individual.
I wanted to write a novel that would make others feel the history: the pain and fear that black people have had to live through in order to endure.
Now you mustn't think that I don't have any ideas for novels in my head. I've got ideas for ten novels in my head. But with every idea I have, I already foresee the wrong novels I would write, because I also have critical ideas in my head; I've got a full theory of the perfect novel, and that's what stumps me.
All my friends who wanted to write had got nowhere trying to write the great European novel. So I deliberately steered clear of that and set out to write something story-led.
The DNA of the novel - which, if I begin to write nonfiction, I will write about this - is that: the title of the novel is the whole novel. The first line of the novel is the whole novel. The point of view is the whole novel. Every subplot is the whole novel. The verb tense is the whole novel.
I had wanted to write 'The Possessed' as fiction, but everyone told me that no one would read a novel about graduate students. It seems almost uncivilized to tell someone writing a novel, 'No, you have to call this a memoir.'
Like my hero Virginia Woolf, I do lack confidence. I always find that the novel I'm finishing, even if it's turned out fairly well, is not the novel I had in my mind. I think a lot of writers must negotiate this, and if they don't admit it, they're not being honest.
I just feel lucky that I somehow escaped from the confines of the business class... I feel so fortunate that somehow I managed to break out of that world and get to do something that really had more meaning.
I wanted to be an artist, but at age 11, somehow all this musical knowledge and information and love for music that I had came out, and then suddenly it was very clear that I wanted to be a musician of some sort.
With 'Nostromo', Joseph Conrad said that he had wanted to write a novel about the degradation of an idea. That's what we wanted to show in the case of Dustin Hoffman's character, Bernstein.
I had always secretly wanted to write a novel.
Somehow I had turned myself into the worst thing in the world: I was just another man who wanted to teach me something!
This site uses cookies to ensure you get the best experience. More info...
Got it!