Colin Greenland
Goodreads Author
Born
in Dover, The United Kingdom
May 17, 1954
Genre
Influences
Member Since
August 2011
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Colin Greenland
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Popular Answered Questions
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Take Back Plenty (Tabitha Jute, #1)
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published
1990
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20 editions
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Harm's Way
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published
1993
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14 editions
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Seasons of Plenty (Tabitha Jute, #2)
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published
1995
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12 editions
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The Entropy Exhibition: Michael Moorcock and the British "New Wave" in Science Fiction
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published
1983
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11 editions
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Mother of Plenty (Tabitha Jute, #3)
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published
1998
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7 editions
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Daybreak on a Different Mountain (Daybreak, #1)
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published
2013
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6 editions
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The Plenty Principle
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published
2013
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4 editions
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The Hour of the Thin Ox (Daybreak, #2)
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published
2013
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5 editions
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Other Voices (Daybreak, #3)
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published
1988
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6 editions
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Spiritfeather (Dreamtime, #4)
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published
2000
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Colin’s Recent Updates
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"A beautiful, pensive read, brimming with a quiet kind of love. I'm hesitant to say more about it. It's better to just read it and sit with your thoughts about it for a while."
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Colin Greenland
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"Is the lodger evil. or is sleep-deprived mother of baby-from-hell Michael hallucinating? And do we care?
This is the third novel by Celia Fremlin that I have read, and I can now say, with absolute certainty, that she excelled at writing novels in whic" Read more of this review » |
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“Plotting is like sex. Plotting is about desire and satisfaction, anticipation and release. You have to arouse your reader’s desire to know what happens, to unravel the mystery, to see good triumph. You have to sustain it, keep it warm, feed it, just a little bit, not too much at a time, as your story goes on. That’s called suspense. It can bring desire to a frenzy, in which case you are in a good position to bring off a wonderful climax.”
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“Sometimes he tries to catch her, wading frantically through earth that has turned to water, or sometimes through air. Sometimes she tries to catch him. They never catch each other, no matter what.”
― The Sandman: Book of Dreams
― The Sandman: Book of Dreams
“Plotting is like sex. Plotting is about desire and satisfaction, anticipation and release. You have to arouse your reader's desire to know what happens, to unravel the mystery, to see good triumph. You have to sustain it, keep it warm, feed it, just a little bit, not too much at a time, as your story goes on. That's called suspense. It can bring desire to a frenzy, in which case you are in a good position to bring off a wonderful climax.”
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Topics Mentioning This Author
| topics | posts | views | last activity | |
|---|---|---|---|---|
| The Seasonal Read...: By Blood or Marriage (25.2) | 41 | 412 | Aug 24, 2009 02:23PM | |
| The Seasonal Read...: 30.3 -- Donna Jo's Task: Back by Popular Demand | 60 | 132 | Oct 29, 2012 09:24AM | |
| You'll love this ...: How do you know when to stop reading a bad book? | 140 | 518 | Dec 16, 2014 03:56PM | |
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“A story is not like a road to follow … it's more like a house. You go inside and stay there for a while, wandering back and forth and settling where you like and discovering how the room and corridors relate to each other, how the world outside is altered by being viewed from these windows. And you, the visitor, the reader, are altered as well by being in this enclosed space, whether it is ample and easy or full of crooked turns, or sparsely or opulently furnished. You can go back again and again, and the house, the story, always contains more than you saw the last time. It also has a sturdy sense of itself of being built out of its own necessity, not just to shelter or beguile you.”
― Selected Stories
― Selected Stories
“If you only read the books that everyone else is reading, you can only think what everyone else is thinking.”
― Norwegian Wood
― Norwegian Wood
























































