A Quote by Julia Quinn

To this day, The Duke and I remains particularly close to my heart; I felt it was the novel in which my writing took a huge leap forward. — © Julia Quinn
To this day, The Duke and I remains particularly close to my heart; I felt it was the novel in which my writing took a huge leap forward.
To this day, 'The Duke and I' remains particularly close to my heart; I felt it was the novel in which my writing took a huge leap forward.
Part of writing a novel is being willing to leap into the blackness. You have very little idea, really, of what's going to happen. You have a broad sense, maybe, but it's this rash leap.
For me, Duke was personal. I hated Duke and I hated everything I felt Duke stood for. Schools like Duke didn’t recruit players like me. I felt like they only recruited players who were Uncle Toms.
I'm particular about the projects that I've chosen. Each one of them, I've taken a step up, like climbing a ladder. Before, it was baby-steps, up to 'Riddick.' Then I took this huge leap onto 'Guardians!' It was such a higher level, this huge project which originally I never thought I'd have a chance in hell of getting.
The daily act of writing remains as demanding and maddening as it was before, and the pleasure you get from writing - rare but profound - remains at the true heart of the enterprise. On their best days, writers all over the world are winning Pulitzers, all alone in their studios, with no one watching.
Writing the novel felt so private to me! I think publishing a novel is quite public and exposing, and what's a little frightening to me right now is the fact that it feels so entirely opposed to the privacy that is writing.
I don't see the direct correlation between my personal life and the novel I'm writing until I'm at the end of the novel or very close to it.
If you have the guts to keep making mistakes, your wisdom and intelligence leap forward with huge momentum.
I set up this little office space with a piano in it and I thought that would be quite a novel way of writing the album, to make it like a job - a romanticised version of the 9 to 5. I think that was probably my favourite time. I made sure I walked there every day, which took me about an hour.
I was heart broken, scared, I had a lot of anxiety, I was worried, I felt weak, and I had no idea how I was ever going to come up with the strength. But I just closed my eyes, and took a blind leap. I knew I had to get out of there.
There are two different ways of writing a novel. The first I call the traditional father way, when the novelist slightly situates himself or herself above the text and knows what each and every character is going to do. It's a bit like engineering. I've never felt close to that tradition. I like the second way, which relies a bit more on intuition.
To make it interesting and worth doing, writing a novel has to be a leap into the unknown. I have to be unsure if I can write it; otherwise, I won't want to.
Part of writing a novel is being willing to leap into the blackness. You have very little idea, really, of what's going to happen. You have a broad sense, maybe, but it's this rash leap. It's like spelunking. You kind of create the right path for yourself. But, boy, are there so many points at which you think, absolutely, I'm going down the wrong hole here. And I can't get back to the right hole. I'm not going to be able to get this section back to the right hole - so I'm just going to have to cut it.
I was a lot dumber when I was writing the novel. I felt like worse of a writer because I wrote many of the short stories in one sitting or over maybe three days, and they didn't change that much. There weren't many, many drafts. That made me feel semi-brilliant and part of a magical process. Writing the novel wasn't like that. I would come home every day from my office and say, "Well, I still really like the story, I just wish it was better written." At that point, I didn't realize I was writing a first draft. And the first draft was the hardest part.
I was an avid reader, but never thought seriously about writing a novel until I was in my thirties. I took no formal fiction-writing courses and never thought about these categories when I wrote my first novel.
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