So I went out and bought myself a copy of the Writer and Artist Yearbook, bought lots of magazines and got on the phone and talked to editors about ideas for stories. Pretty soon I found myself hired to do interviews and articles and went off and did them.
This book, 'Stupid White Men,' has sold now over four million copies worldwide. Probably about half of that may be in the U.S. and Canada, and the rest, overseas.
I wrote for magazines. I wrote adventure stuff, I wrote for the 'National Enquirer,' I wrote advertising copy for cemeteries.
Suppose that every prospective parent in the world stopped having children naturally, and instead produced clones of themselves. What would the world be like in another 20 or 30 years? The answer is: much like today. Cloning would only copy the genetic aspects of people who are already here.
Real failure comes when we consider ourselves good enough at something to be able to repeat it rather than to develop it. "Success is dangerous," the painter Pablo Picasso said. "One begins to copy oneself, and to copy oneself is more dangerous than to copy others. It leads to sterility."
If you didn't have patents, no one would bother to spend money on research and development. But with patents, if someone has a good idea and a competitor can't copy it, then that competitor will have to think of their own way of doing it. So then, instead of just one innovator, you have two or three people trying to do something in a new way.
[when asked by his secretary if she should destroy all files that were over ten years old] Yes, but keep copies.
The only thing I really recommend, if you're starting out in stand-up is to not try to copy anybody else. You can be influenced by people. I was influenced by Steve Martin and Bob Newhart and Woody Allen, but I never tried to be someone else. I always tried to be myself. And the reason people are successful is they're unique.
There are more copies than originals among people.
All technical refinements discourage me. Perfect photography, larger screens, hi-fi sound, all make it possible for mediocrities slavishly to reproduce nature; and this reproduction bores me. What interests me is the interpretation of life by an artist. The personality of the film maker interests me more than the copy of an object.
You really need to approach each book as if you have been a failure. . . . If you start to believe your flap-copy, you're finished as a writer.
Instead of creating aesthetically pleasing prose, you have to dig into a product or service, uncover the reasons why consumers would want to buy the product, and present those sales arguments in copy that is read, understood, and reacted to—copy that makes the arguments so convincingly the customer can’t help but want to buy the product being advertised.
The credibility of the work depends on copy editors. I would argue with the copy desk, but I would thank them more.
To make a poem, take one newspaper, one pair of scissors, snip the words one by one and put them in a bag. Shake gently, draw them out at random, and copy them conscientiously... DADA est mort. DADA est idiot. Vive DADA!
In the room where I work, I have a chalkboard, and as I'm going along, I write the made-up words on it. A few feet from that chalkboard is a copy of the full 20-volume Oxford English Dictionary, to which I refer frequently as a source of ideas and word roots.
You can't copy style, you gotta create your own.
Songs came first. I started out in 1965 trying to copy the Beatles, Bob Dylan, and the Stones, like most kids I knew. I'm still trying. Songs are hard to beat.
Let wife and child perish, and lay bricks for your last crust, rather than part with an iota of your [copy]rights.
I do think that copyrights and intellectual property are important - it's important to be able to keep people from making verbatim copies of a particular creation that could somehow hurt the creator. If I spend time conceiving and making a piece of art and somebody else sees that it has market value and replicates it in order to steal part of my market, then that's not cool.
When you're working on a game that has a budget of tens of millions of dollars and you have to sell millions and millions and millions of copies to break even, you have a lot more layers between you and the audience. You have a marketing department, and there's a different marketing department for every continent, and the parent company has stockholders, and all that kind of stuff.
All the elements in an advertisement are primarily designed to do one thing and one thing only: get you to read the first sentence of the copy.
If you set out to copy after one master today and after one tomorrow, you will not acquire the style of either one or the other, and you will inevitably become fantastic, because each style will fatigue your mind.
Clever people can copy the handwriting of an artist - it's like forging a person's signature.
Why should I copy this owl, this sea urchin? Why should I try to imitate nature? I might just as well try to trace a perfect circle.
When reality becomes unbearable, the mind must withdraw from it and create a world of artificial perfection. Plato's world of pure Ideas and Forms, which alone is to be considered as real, whereas the world of nature which we perceive is merely its cheap Woolworth copy, is a flight into delusion.
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