Quotes About Originality

You're a writer. Make it up.

You don't do something because it's a sure thing. You don't do something for the bank. That's the one that flops. That's a riskier proposition than doing something completely original. It's risky to be safe.

At the moment, everyone gets a copyright as soon as the work is written down or otherwise fixed, whether they want one or not.

I can but repeat that art is not a branch of pedagogy!

The things that make you different are your superpowers.

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Quality, uniqueness and one of a kind art sometimes takes a little more time and can't be rushed

Be unpredictable, Be Real, Be Interesting. Tell a good story.

Beauty can come in strange forms.

No one has claim to originality in literature; all writers are more or less faithful amanuenses of the spirit, translators and annotators of pre-existing archetypes.

Drenched in British purples, I have offered up my tones: pigeon breast, hind belly, balky mule lung, monkey bottom pink, lapis lazuli and malachite, excited nymph thigh, panther pee-pee, high-smelling hen hair, hedgehog in aspic, barrel-maker's brothel, revered rose, monkeybush, turkey-like white, sly violet, page's slipper, immaculate nun spring, unspeakable red, Ensor azure, affected yellow, mummy skull, rock-hard gray, brunt celadon, shop soiled smoke ring.

If you're going to frame a crazy, build a crazy frame.

We do this basically for ourselves. People appreciate it, which is cool, but I think they appreciate that we're doing it for ourselves. We're doing it our way, and how people like it is not up to us. We like it.

We are not here to fit in, be well balanced, or provide exempla for others. We are here to be eccentric, different, perhaps strange, perhaps merely to add our small piece, our little clunky, chunky selves, to the great mosaic of being. As the gods intended, we are here to become more and more ourselves.

I love romantic comedy, but I think you have to have another idea that you're chasing along with romantic comedy.

Be yourself, no one can ever tell you you're doing it wrong.

But shining through the nineteenth-century piety, like a pale green shoot bursting through dark soil, is a stunningly original personality, a person who, despite the difficulties of life, holds out to us her Little Way and says to us one thing: Love.

An artist is not paid for his labor but for his vision.

So the verse means, "Do not let the age in which you live force you into its scheme of thinking and behaving.

Artists cannot be trained. One does not become an artist by acquiring certain skills or techniques, though one can use any number of skills and techniques in artistic activity. The creative is found in anyone who is prepared for surprise. Such a person cannot go to school to be an artist, but can only go to school as an artist.

We stand before genius in silence. We cannot speak it, we can only speak as it. Yet, though I speak as genius, I cannot speak for genius. I cannot give nature a voice in my script. I can not give others a voice in my script-without denying their own source, their originality. To do so is to cease responding to the other, to cease being responsible. No one and nothing belong in my script.

When I speak as the genius I am, I speak these words for the first time. To repeat words is to speak them as though another were saying them, in which case I am not saying them. To be the genius of my speech is to be the origin of my words, to say them for the first, and last, time. Even to repeat my own words is to say them as though I were another person in another time and place.

The paradox of genius exposes us directly to the dynamic of open reciprocity, for if you are the genius of what you say to me, I am the genius of what I hear you say. What you say originally I can hear only originally. As you surrender the sound on your lips, I surrender the sound in my ear. Each of us has relinquished to the other what has been relinquished to the other.

Machines do not, of course, make us into machines when we operate them; we make ourselves into machinery in order to operate them. Machinery does not steal our spontaneity from us; we set it aside ourselves, we deny our originality. There is no style in operating a machine. The more efficient the machine, the more it either limits or absorbs our uniqueness into its operation.