A Quote by Skip Horack
It's the originality of Pauls Toutonghi's voice and vision that makes this such a remarkable novel. Toutonghi is a true daredevil of a writer, and this fantastically hilarious and affecting book will have you on the edge of your seat.
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True originality consists not in a new manner but in a new vision. That new, that personal, vision is attained only by looking long enough at the object represented to make it the writer's own; and the mind which would bring this secret gem to fruition must be able to nourish it with an accumulated wealth of knowledge and experience.
I really believe that there is an enormous appetite amongst readers for an originality of vision. In other words, be true to your own dreams and there will always be people who want to hear them.
Before I wrote The Power of Now, I had a vision that I had already written the book and that it was affecting the world. I had a sense there was already a book somehow in existence. I drew a circle on a piece of paper and it said "book." Then I wrote something about the effect the book had on the world, how it influenced my life and other people's lives, and how it came to be translated into many languages affecting hundreds of thousands of people.
One of the things about writing a novel is you can do it any way you want. It's your voice that's important and I see absolutely no reason why a screenplay can't be the same. It makes it a hell of a lot easier when you're the writer and the director.
The Daredevil comic book was the first comic book Marvel had ever put out that was an adult R-rated book, so I started with that. When I was creating the series, I just started with that tone, and that edge, and it just kept going.
Thrillers are my favorite. I like stuff that keeps you on the edge of your seat or maybe makes you jump.
An actor is nothing without the vision of the director. The director needs to have a vision that will cross boundaries, that makes the audience sit on the edge of their seats and that pushes the envelope.
There are authors like David Foster Wallace or Raymond Chandler - with voice-based authors I might end up a completist, because what I love about them isn't just the particular construction of one novel or another but their flavor. There is an Austrian writer, Thomas Bernhard, as well. One book is not necessarily greater than another book, but they just have this incredible, unique voice, so it doesn't really matter which one you read.
I first heard the term "meta-novel" at a writer's conference in Tulsa, Oklahoma. The idea is that even though each book in a series stands alone, when read collectively they form one big ongoing novel about the main character. Each book represents its own arc: in book one of the series we meet the character and establish a meta-goal that will carry him through further books, in book two that meta-goal is tested, in book three - you get the picture.
The Butcher Boy is a very great novel indeed and a very important Irish novel. The ambiguity of that is, he's writing a book about an appalling situation and he does it in a hilarious way.
As a writer, you must know what promise your story or novel makes. Your reader will know.
The infallible criterion by which to distinguish the true from the would-be strategist is the degree of originality of his conceptions. It makes little difference whether this originality is carried to excess, as was the case with Steinitz and Nimzowitsch.
Originality is also very important to a writer. And all of the writers I've mentioned, of course, are original, but it's important to me that every book that I do be really a completely fresh and new look at the world. And of course, that makes it frightening to start a new book because you can't really depend upon what you've done with previous books.
Girlchild . . . unfolds a compelling, layered narrative told by a protagonist with a voice so fresh, original, and funny you'll be in awe. This novel rocks . . . In Girlchild Tupelo Hassman has created a character you'll never forget. Rory Dawn Hendrix of the Calle has as precocious and endearing a voice as Holden Caulfield of Central Park. When you finish this novel, your sorrow at turning the last page will be eased by your excitement at what this sassy, talented author will do next.
I think true originality is perpetual. It's always rolling along. True originality is not like this award or trophy you get if you do something weird. It's with you if you have it, and it's still rolling along somewhere, you just gotta go find it. It takes time to reach that point, and understand true originality... I think we all can find it.
Suppose Mozart had tried to be original? It would have been like a man at the North Pole trying to walk north, and this is true of all of the rest of us. Striving after originality takes you far away from your true self, and makes your work mediocre.
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