A Quote by Joan D. Vinge

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. — © Joan D. Vinge
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.
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.
Spielberg read the 'Understudy' and decided that was the voice he wanted to write 'Smash.' He wanted a story that had humanity and humor and high-stakes dreams.
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.
This first print run of the first edition of my first novel, 'When The Lion Feeds.' back in 1964, is so rare it can fetch several thousand pounds at auction. I always wanted to be an author, and I decided to write about what I knew.
I don't try and write strong female characters or strong male characters, I just try and write, hopefully, strong characters and sometimes they happen to be female.
I wanted to be a musician. I just wanted to be famous because I wanted to escape from what I felt was my limitation in life... And I wanted to write music, and I didn’t know what I was doing and I never had the technique or understanding of it... But I’ve always played the piano and I can improvise on the piano, but the problem is that I can’t write down what I write. I can read music but I can’t write numbers.
I wanted to write a novel where the meaning is in the story and characters and the subliminal, in the shades and nuances. It's exciting to develop that as a writer.
I don't have any regrets, really, except that one. I wanted to write about you, about us, really. Do you know what I mean? I wanted to write about everything, the life we're having and the lives we might have had. I wanted to write about all the ways we might have died.
I just went into the studio and did it all in one take. All I was thinking about was the next record; I had already sourced the tracks I wanted to use. I'd been thinking a lot about it and I wanted to represent myself, Leeds and fabric. I'm not very nationalistic, but I wanted to represent what was coming out of Britain as well as at the moment there's a lot of really good new music.
It's an unusual way to write a crime novel, to have these lingering, fairly large story points, but it's something I knew I had to do if I wanted to write a sequel...but, you know, people still have to read and enjoy this book, or it's a moot point.
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.
Writing a novel is always complicated, it's not like you snap your fingers and go, 'Ah, I know what I'll write'. For me, a lot of the time, I have to write and as I write, I learn about the story.
The love story between the hero and the heroine has to be at the center of the book. I think that's pretty true in my books. I usually write a secondary love story, with maybe nontraditional characters. Sometimes I write older characters. I'm interested in female friendships, and family relationships. So I don't write the traditional romance, where you just have the hero and the heroine's love story. I like intertwining relationships.
I wanted to be free to write the way I wanted to write, and my impression of Christian publishing, at least in fiction, was that there wasn't room for what I wanted to write.
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.
A lot of banging in the head has built up over the decades, and for my own sanity, I needed to write. I wanted to see if I could tell an honest, organic story about characters that interest me.
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