I prefer writing originals.
If you want to be taken seriously and gain credibility, you really do have to try and write yourself. I don't want to do an album of covers and stuff.
I believe that writing is derivative. I think good writing comes from good reading.
It takes practice to do anything unique within this field, period, in writing, practice doing anything unique in writing.
In my own experience as president of Brazil I observed first hand many of the trends that Nam identifies in this book, but he describes them in a way that is as original as it is delightful to read. All those who have power-or want it-should read this book.
All worthwhile writing... comes from an individual vision, privately pursued.
It has come to be practically a sort of rule in literature that a man, having once shown himself capable of original writing, is entitled thenceforth to steal from the writings of others at discretion.
From a writing point of view, you now have teams of screenwriters working with a director. What's lost in the process is the power of that one heart, brain, gut and soul that makes something an original piece of writing.
Good writing is full of surprises and novelties, moving in a direction you don't expect.
I don't write genre stuff in any form. I'm not interested in it. I always try to do the opposite of that.
We really believe, existing in a climate where comic books and franchises are the order of the day, that new material and writers need to be fostered more than ever. And in the theater and in television, the idea of original writing holds real value.
You can't write ... on the strength of influence. You can only write a good story or a good novel by yourself.
With all deference to Chairman Mao and other authors whose quotations derive from longer works, it seemed that I was becoming the world's first writer of self-contained ready-made quotations.
I made my personal discovery of Emily Carr while visiting Victoria in 1981 to write a travel article. Immediately, her strong colors attracted me; her spunk fascinated me. Her down-to-earth voice in her writing appealed to me as authentic and original.
I am not bothered with whether my characters are conventional or not. Because I am not in this for the designer labels and the autographs.
I thought, if I write a book that is not a retelling of Pride and Prejudice, it's not going to mean that I will not get any criticism. I might as well write the book that I want to write.
Vivian Abenshushan and Veronica Gerber write brilliant books that defy generic conventions.
The Sugar Frosted Nutsack is dizzyingly brilliant. Mark Leyner is a hyperkinetic shaman, who flies the banner of rum and candy and writes like a one-eyed feral bandit. His new book is supremely original, delirious and synapse-shattering.
What a newspaper needs in its news, in its headlines, and on its editorial page is terseness, humor, descriptive power, satire, originality, good literary style, clever condensation, and accuracy, accuracy, accuracy!
I don't know if there's a problem with original ideas... I think a healthy film industry should have a good supply of good, original writing.
Certain unique books seem to be without forerunners or successors as far as their authors are concerned. Even though they may profoundly influence the work of other writers, for their creator they're complete, not leading anywhere.
Everybody's idea of a great book is different, of course. For me it's one that makes my jaw drop on every page, the writing is so original.
