A Quote by Nick Laird

There used to be one writer rather than a team of writers. It's the old line about a camel being a horse designed by committee. — © Nick Laird
There used to be one writer rather than a team of writers. It's the old line about a camel being a horse designed by committee.
A camel is a horse designed by a committee and a committee's a sweet running piece of machinery compared to any government.
A camel is a horse designed by committee.
They sit there in committees day after day, And they each put in a color and it comes out gray. And we all have heard the saying, which is true as well as witty, That a camel is a horse that was designed by a committee.
A camel looks like a horse that was planned by a committee.
You know the little camel on the pack of cigarettes? They just found out that's not even a camel. It's actually a horse with a big, old tumor growing out of its mouth.
I know a lot of crime writers feel very underrated, like they're not taken seriously, and they want to be just thought of as writers rather than ghettoised as crime writers, but I love being thought of firmly as a crime writer.
No committee could ever come up with anything as revolutionary as a camel - anything as practical and as perfectly designed to perform effectively under such difficult conditions.
It feels as though a very disproportionate number of main characters are writers, because that's what the writer knows. Fair enough. But nothing bothers me more in a movie than an actor playing a writer, and you just know he's not a writer. Writers recognize other writers. Ethan Hawke is too hot to be a writer.
The Arab and the camel are inseparable. It's been said that and Arab would give up his wife rather than give up his camel. Personally, I haven't got a camel, but I think it's a great idea.
In a way, I'd rather ride down the street on a camel than give what is sometimes called an in-depth interview. I'd rather ride down the street on a camel nude. In a snowstorm. Backwards.
Traditionally games never used professional writers to create their narrative, so there's definitely a residual feeling that hiring a proper writer is somewhat of a luxury, rather than a necessity. Like a feng shui consultant.
I know of three ways to recognize another writer: Writers are shamelessly nosy. Writers tell good stories, even about dumb old, daily things. On most writers, the earmarks of thrift, if not outright povery, are evident.
Editing should be, especially in the case of old writers, a counselling rather than a collaborating task. The tendency of the writer-editor to collaborate is natural, but he should say to himself, 'How can I help this writer to say it better in his own style?' and avoid 'How can I show him how I would write it, if it were my piece?'
I would rather be the only horse in a one-horse town than be the third horse in a big city.
The horse seems to wanna please the human and so many times if the human isn’t much of a leader well then the horse has gotta do it’s own thinking. The horse isn’t really designed very well to be the leader but just because the horse is responding to ya, I don’t really think of it as it succumbing to you. I think it’s more of the horse sort of joining you, being more of a partner.
I don't even like old cars. I'd rather have a goddam horse. A horse is at least human, for God's sake.
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