My advice to authors would be to try to do something original rather than to try to anticipate what the market is looking for.
I think it was when I was 12 when I entered a singing competition. I sang my own original song for an audience of 1,000 people.
We always worry that we are copying someone else, that we don't have our own style. Don't worry. Writing is a communal act. Contrary to popular belief, a writer is not Prometheus alone on a hill full of fire. We are very arrogant to think we alone have a totally original mind. We are carried on the backs of all the writers who came before us. We live in the present with all the history, ideas, and soda pop of this time. It all gets mixed up in our writing.
I'm sitting in the drive-through and I've got my three girls in the back and this station comes on and it's playing “Jailhouse Rock,” the original version, and my girls are jumping up and down, going nuts. I'm looking around at them and they've heard Dad's music all the time and I don't see that out of them.
The Buddha is your real body, your original mind.
Be yourself. An original is always worth more than a copy.
I like learning stuff. The more information you can get about a person or a subject, the more you can pour into a potential project. I made a decision to do different things. I want to do things that have a better chance of being thought of as original. I do everything I can to disrupt my comfort zone.
As for borrowing Mr. Whistler's ideas about art, the only thoroughly original ideas I have heard him express have had reference to his own superiority as a painter over painters greater than himself.
I think of modern marriage as a car strangely fashioned out of an old abandoned horse carriage, built upon the framework of a mule cart. All the original engineering is still there, underneath it all.
I hate Christmas. I do think it is odd that I have wound up playing these two iconic Christmas haters. It is the same story, in a way. Scrooge is the original Grinch. I think I am perfectly suited, because I have had some dark Christmases.
I have been in the music industry ever since I was six years old. I have been inspired by so many great artists and of course trying to be original at the same time. I try not to work under boundaries while I'm making music.
It's very, very rare you find something really original and also because a lot of original stuff, most of the time has no chance, because it's so expensive to make something famous or put it in people's head that it's the one to see, it's like awareness has to be almost like at 80% or 90% if you make an expensive summer movie and that's very hard to do with anything an the White House naturally is in itself some sort of a trademark.
It's heartening to return to live music, heartening for people like me in a band. It's a very traditional thing to return to. It re-validates the original form that we fell in love with.
I want characters to have voices that feel authentic, unique, honest, fresh and original - all at once. Part of that authenticity is evoking genuine emotion across life - the sadness, passion, love, sense of loss, missed opportunities, and confusion even. All of this helps us realize that our choices do impact the lives that we eventually lead.
Classics are constantly being re-imagined and transformed, and the originals are none the worse for it; they endure.
Being part of the original Star Wars generation, I have always known a dark future.
Susannah Heschel's The Aryan Jesus is a brilliant and erudite investigation of the convergence between major trends in German Protestantism and Nazi racial anti-Semitism. By concentrating on the history of the Institute for the Study and Eradication of Jewish Influence on German Religious Life, Heschel describes in forceful detail the Nazification of all aspects of Protestant theology, including the Aryanization of Jesus himself. This is a highly original and important contribution to our understanding of the Third Reich.
The book is what we have come to expect from Marion: challenging, subtle and nuanced analyses, dassling formulations, . . a provocative and original philosophical genius.
I feel responsible to make something original as a Japanese artist. There are lots of singers and guitarists, but I feel that on stage its meaningless to copy something someone has done before.
While one could hardly say that philosophers have given much attention to the place that the concept of evil has among our moral concepts, they have done so more in the last ten or so years than they had before. I have, therefore, often wondered why there has been so little discussion of goodness. In Search of Goodness is not only an exception: it is an admirable one. It is original and provocative, impressive both in its breadth and depth.
Disobedience is man's original virtue.
In its happiest efforts, translation is but approximation, and its efforts are not often happy. A translation may be good as translation, but it cannot be an adequate reproduction of the original.
What the artist tries to do (either consciously or unconsciously) is to not only capture the essence of something but also to amplify it in order to more powerfully activate the same neural mechanisms that would be activated by the original object.
Two opposing forces inhabit the poem: one of elevation or up-rooting, which pulls the word from the language: the other of gravity, which makes it return. The poem is an original and unique creation, but it is also reading and recitation: participation. The poet creates it; the people, by recitation, re-create it. Poet and reader are two moments of a single reality.
The 'open text' often emphasizes or foregrounds process, either the process of the original composition or of subsequent compositions by readers.
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