Innovative Writing Quotes

In the long revolt against inherited forms that has by now become the narrative of 20th-century poetry in English, no poet was more flamboyant or more recognizable in his iconoclasm than Cummings.

Walt Whitman, he who laid end to end words never seen in each other's company before outside of a dictionary.

Matt Weiner is an amazing writer. He's one of the best, greatest writers that's ever written for television - or just written.

I was the first records editor at Rolling Stone, and there were no rules. There was nothing to fall back on as to how do you write about this kind of music, so people were trying absolutely everything with a great sense of freedom and experimentation and success and failure, and a feeling of, “My God, people are actually paying attention to this. Let’s pretend they aren’t because we don’t want to be intimidated by what somebody might think of what we’re saying.

There's a kind of a fundamental irresponsibility in playwriting, and the strength of playwriting comes from that irresponsibility.

No good poetry is ever written in a manner twenty years old, for to write in such a manner shows conclusively that the writer thinks from books, convention and cliché, not from real life.

The secret of good writing is to say an old thing in a new way or to say a new thing in an old way.

My sensibility steers me toward writers who are out on their own.

I think of poets as outlaw visionaries in a way.

One night a friend lent me a book of short stories by Franz Kafka. I went back to the pension where I was staying and began to read The Metamorphosis. The first line almost knocked me off the bed. I was so surprised. The first line reads, “As Gregor Samsa awoke that morning from uneasy dreams, he found himself transformed in his bed into a gigantic insect. . . .” When I read the line I thought to myself that I didn’t know anyone was allowed to write things like that. If I had known, I would have started writing a long time ago. So I immediately started writing short stories.

New voices in an old art - and women poets have been that for much more than a century - do not diminish the art through the category. They enrich it. They renew it with common quandaries of craft and innovation. The category simply allows the quandaries to be seen more clearly.

For a writer, you definitely do not want to be in the mainstream. You want to be on the edge because that's where the vantage point is. That's where you can see.

I had always wanted to be a writer who confused genre boundaries and who was read in multiple contexts.

The writers led by Mike Scully are fantastic. And they're creating original stories that not only don't repeat what we've already done, they also don't repeat anything I've seen on television.

Readers seem to really like the fact that what I'm writing is not traditional fantasy.

I hope our legacy will be enduring and that people think of us as an important band. But I think Ricky's guitar playing, our style of writing, the fact that we had men and women in the band and gay and straight, I think it's an important band, and the way we wrote by jamming, we really had a different approach.

I see genres as generating sets of rules or conventions that are only interesting when they are subverted or used to disguise the author's intent. My own way of doing this is to attempt a sort of whimsical alchemy, whereby seemingly incompatible genres are brought into unlikely partnerships.

In a country as united as ours [Russia], it is quite inevitable that a certain amount of thinking in clichés should appear, and I want to overcome this standardized way of thinking and introduce into our literature new ideas, new feeling and rhythms.

Some writers are writing one great, big book and just taking all these different avenues towards it. They might seem on the outside to be different, but they're really not. And that's a different kind of mindset. I don't know why it is, but I just feel like I really want to escape myself as much as I can - myself as the artist, or as the writer, or as the thinker - with each new project, because one, it's just boredom, but also, I guess I just feel most comfortable starting a new book if I just feel a little in the dark about it.

I try to write books that are different from the books I've already written. I think one of the thing I really try to do is reinvent how a novel can be written.

I did not think much what I was writing them for, except that I knew I wanted my next novel to be in some less conventional form than straight narrative.

The productions of a great genius, with many lapses and inadvertences, are infinitely preferable to the works of an inferior kind of author which are scrupulously exact, and conformable to all the rules of correct writing.

I was looking at a lot of experimental writers, and I was very intrigued by short-short fiction, writers who would write little things, what I call buttons now, little vignettes.

Louis C.K. was able to make it happen. His producers don't bug him. He's able to go into his cave and write exactly what he wants to write, and there are no decisions made by committee, and you have a singular voice, and everyone's like, 'Oh my God! We love this.'

The challenge in daytime in particular, I think, is to go against all the traditional cliches of daytime and try to make it real.