A Quote by Floyd Skloot

I feel that I'm a poet first. Not only was poetry the first genre in which I wrote, it's the genre that serves as the basis for my practice as a writer. — © Floyd Skloot
I feel that I'm a poet first. Not only was poetry the first genre in which I wrote, it's the genre that serves as the basis for my practice as a writer.
I wanted to look like the most diverse writer in comics! Spy genre, space genre, crime genre, and then you realize that it's all actually the same thing.
I grew up reading genre writers, and to the degree that Eric Ambler and Graham Greene are genre writers, I'm a genre writer.
In my mind, there's this one 'super genre,' which is the only genre that matters, and that's the super genre of good music.
I wrote poetry for seven or eight years, maybe longer, before I could say I was a poet. If people asked, I'd say I wrote poetry; I wouldn't go further. I was in my mid- to late-thirties before I felt that I was a poet, which I think meant that I had begun to embody my poems in some way. I wasn't just a writer of them. Hard to say what, as a poet, my place in the world is. Some place probably between recognition and neglect.
If I'm a genre writer, I'm at the edge. In the end, they do work like genre fiction. You have a hero, there's a love interest, there's always a chase, there's fighting of some kind. You don't have to do that in a novel. But you do in a genre novel.
Sure, it can happen that the director sees you in a particular genre, and they like your work in that genre; they tend to think that you can only do well in that genre.
I spent the first part of my career trying to avoid genre because I felt like genre, in some way, was cliche.
When I wrote the first Betsy book, 'Undead and Unwed,' I had no idea, none, that it would be a career-defining, genre-defining book, the first of over a dozen in the series, the first of over 70 published books, the first on my road to the best-seller list, the first on my road to being published in 15 countries.
When you're a young writer and you look at people praising a big hefty anthology that has uncovered a long lost genre, it can be disorienting to look inside it and think, "But what it's uncovered still isn't me. What does this mean? Do I not belong in this genre, or is there more of the genre yet to find?"
The beauty of the horror genre is that you can smuggle in these harder stories, and the genre comes with certain demands, but mostly you need to find the catharsis in whatever story you're telling. What may be seen as a deterrent for audiences in one genre suddenly becomes a virtue in another genre.
For a writer, and particularly a writer of my genre, which is the fantastical, I think that it's to my advantage to feel remote from and disconnected from the world of deal making.
I don't write toward a genre, and I try not to make claim to a genre after a book is published. That said, The Guardians isn't poetry. It's prose.
My favourite genre lies inside myself, and as I follow my favourite stories, characters and images, it sums up to a certain genre. So at times even I have to try to guess which genre a film will be after I've made it.
Chick Lit uses humor to reflect life back to us. It's a very comforting genre, and it's the first time our generation has had a voice. It's a very important genre for all of those reasons.
I love the horror genre. I consider myself a genre filmmaker. I love genre, but I think there's a certain amount of complacency that comes with watching a genre film; people know what the devices are. They know what the tropes are. They know the conventions.
Australian genre films were a lot of fun because they were legitimate genre movies. They were real genre films, and they dealt, in a way like the Italians did, with the excess of genre, and that has been an influence on me.
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