Writing
Author Raymond Benson, who later wrote a series of Bond novels, noted that Fleming's books fall into two distinct periods along stylistic lines. Those books written between 1953 and 1960 tend to concentrate on "mood, character development, and plot advancement", while those released between 1961 and 1966 incorporate more detail and imagery. Benson argues that Fleming had become "a master storyteller" by the time he wrote Thunderball in 1961.
Jeremy Black divides the series based on the villains Fleming created, a division supported by fellow academic Christoph Linder. Thus the early books from Casino Royale to For Your Eyes Only are classed as "Cold War stories", with SMERSH as the antagonists, followed by Blofeld and SPECTRE as Bond's opponents in the three novels Thunderball, On Her Majesty's Secret Service and You Only Live Twice, after the thawing of East–West relations. Black and Linder both classify the remaining books—The Man with the Golden Gun, Octopussy and The Living Daylights and The Spy Who Loved Me—as "the later Fleming stories".
Read more about this topic: Ian Fleming
Famous quotes containing the word writing:
“In writing these Tales ... at long intervals, I have kept the book-unity always in mind ... with reference to its effect as part of a whole.”
—Edgar Allan Poe (1809–1849)
“One can write out of love or hate. Hate tells one a great deal about a person. Love makes one become the person. Love, contrary to legend, is not half as blind, at least for writing purposes, as hate. Love can see the evil and not cease to be love. Hate cannot see the good and remain hate. The writer, writing out of hatred, will, thus, paint a far more partial picture than if he had written out of love.”
—Jessamyn West (1902–1984)
“What is line? It is life. A line must live at each point along its course in such a way that the artist’s presence makes itself felt above that of the model.... With the writer, line takes precedence over form and content. It runs through the words he assembles. It strikes a continuous note unperceived by ear or eye. It is, in a way, the soul’s style, and if the line ceases to have a life of its own, if it only describes an arabesque, the soul is missing and the writing dies.”
—Jean Cocteau (1889–1963)