A Quote by Lisa Scottoline

You don't have to be dead to write a classic, and you don't have to be literary to be smart. — © Lisa Scottoline
You don't have to be dead to write a classic, and you don't have to be literary to be smart.
I wasn't the classic comedy type; I wasn't bullied or extrovert. I was more the ambitious literary one who wanted to write clever little plays.
I write literary, not commercial, fiction - or so I've been told by my publishers who are proud I write literary fiction but secretly wish I wrote commercial.
A book doesn't have to be a literary classic, of course, to change us forever.
When authors who write literary fiction begin to write screenplays, everybody assumes that's the end. Here's another who's never going to write well again.
I wanna write a classic metal record, a classic rock record, in 2013.
A female writer does definitely get more attention if she writes about male characters. It's true. It's considered somehow more literary, in the same way that it's more literary to write about supposedly male subjects, such as war. You're considered more seriously by the literary establishment.
I said it before and I’ll say it again: books are dead, plays are dead, poems are dead: there’s only movies. Music is still okay, because music is sound track. Ten, fifteen years ago, every arts student wanted to be a novelist or a playwright. I’d be amazed if you could find a single one now with such a dead-end ambition. They all want to make movies. Not write movies. You don’t write movies. You make movies.
We postpone our literary work until we have more ripeness and skill to write, and we one day discover that our literary talent wasa youthful effervescence which we have now lost.
Only idiots or snobs ever really thought less of 'genre books' of course. There are stupid books and there are smart books. There are well-written books and badly written books. There are fun books and boring books. All of these distinctions are vastly more important than the distinction between the literary and the non-literary.
I'm a storyteller, I'm not a literary writer, and I don't want to be a literary writer. People say to me, "Oh, when are you going to write something different?" What? I don't want to write anything different. I'm writing relationships between people, all different colors, all different sizes, all different sexual orientations, and that's what I want to do.
I'm into 'The Walking Dead,' 'Shaun of the Dead,' obviously, and I've seen all the Romero movies. I am a classic zombie queen. And I love the White Walkers on 'Game of Thrones.' Weirdly, it wasn't until pretty late in life that I found my entry point into horror films.
In truth, the legitimate contention is, not of one age or school of literary art against another, but of all successive schools alike, against the stupidity which is dead to the substance, and the vulgarity which is dead to form.
Literary modernism kind of grew out of a sense that, “Oh my god! I’m telling a story! Oh, that can’t be the case, because I’m a clever person. I’m a literary person! What am I going to do to distinguish myself? I know! I’ll write Ulysses.”
I figured if I write a modern thriller but spliced in the DNA of a classic western - the drifter who comes into town with secrets - I could do something interesting with both genres. Westerns are also an incarnation of the classic knight errant tale, the lone warrior with a moral code, and I love those types of stories.
In a fit of pique, I said to my agent, 'I'm going to write something you can sell.' The idea was to write a straight page-turner, with no literary conceits.
Literature begins with the possible model of experience, and what it produces is the literary model we call the classic.
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