vˈaɪnɪŋz plˈeɪɹaɪɾɪŋ æmbˈɪʃənz ɡɹˈædʒuːəli pˈiːɾɚd ˈaʊt, ænd hiː ᵻvˈɛntʃuːəli tˈʊk ɐ fˈʊltˈaɪm pəzˈɪʃən ɪnðə dɪvˈɛləpmənt ˈɑːfɪs æt tˈiːtʃɚz kˈɑːlɪdʒ, kəlˈʌmbiə jˌuːnɪvˈɜːsᵻɾi, spˈɛndɪŋ θˈɜːɾi jˈɪɹz ðɛɹ ɪn ɐ dʒˈɑːb hiː dɪslˈaɪkt bᵻfˌoːɹ tˈeɪkɪŋ ˈɜːli ɹᵻtˈaɪɚmənt, ɪn pˈɑːɹt sˌoʊ hiː kʊd stˈɑːɹt hɪz ˈoʊn pˈʌblɪʃɪŋ kˈʌmpəni, ðə pˈɛpiz pɹˈɛs, nˈeɪmd ɪn ˈɑːnɚɹ ʌv wˈʌn ʌvðə mˈoʊst sˈɛləbɹˌeɪɾᵻd ʌv ˈɔːl dˈaɪɚɹˌɪsts, sˈæmjuːl pˈɛpiz.
Vining's playwriting ambitions gradually petered out, and he eventually took a full-time position in the Development Office at Teacher's College, Columbia University, spending 30 years there in a job he disliked before taking early retirement, in part so he could start his own publishing company, The Pepys Press, named in honor of one of the most celebrated of all diarists, Samuel Pepys.