Just a few more thoughts.
Get one of those padded, clip-on supports to help with the problem of holding the violin under your chin. You should then be able to support the instrument just using your jaw and the pad, with both hands free. That'll help when you get round to vibrato.
The secret to making the right sound depends on the bow and the applied pressure and speed. Adjust the bow tension so that its neither too slack nor too tight. Get enough rosin on the hairs, but not too much. When you apply the bow to the string - always at right angles - don't apply too much pressure, but always keep the bow moving. Glide, in fact. Bow hairs break - don't worry about it.
There are no frets, so it helps if you have perfect pitch. Keep listening and keep adjusting, and your fingers soon work out exactly where to go.
Don't be over-awed by all the great violinists out there - both past and present. There's a long, humble folk tradition too - and some of those folk fiddlers made their own instruments out of whatever they could get (rectangular "boxwood fiddles" and suchlike). As for the current greats, I'd say think Maxime Vengerov or Anne-Sophie Mutter rather than Vanessa Mae. Nigel Kennedy is wooden by comparison - and I think that the late Yehudi Menuhin, while technically brilliant, wasn't that expressive either. Above all, the violin is an expressive instrument.
If you want to find out just how expressive, try listening to "The Lark Ascending", by English composer Ralph Vaughan Williams, without being moved to tears.
If you want to find out just how challenging it gets, put on the first movement of the Brahms Violin Concerto and wait for the soloist to come in. OMG!
Daeron's right. I too spent some time in an orchestra. OK - it was just a youth orchestra, and a second-rate one at that, but if you should ever find yourself on a concert stage playing (a slightly simplified version of) "The Great Gate of Kiev", from the Mussorgsky/Ravel work "Pictures at an Exhibition" ... It's a life-changing experience.