A Quote by Walter Moers

In my profession it isn’t a question of telling good literature from bad. Really good literature is seldom appreciated in its own day. The best authors die poor, the bad ones make money — it’s always been like that. What do I, an agent, get out of a literary genius who won’t be discovered for another hundred years? I’ll be dead myself then. Successful incompetents are what I need.
Fiction is a kind of compassion-generating machine that saves us from sloth. Is life kind or cruel? Yes, Literature answers. Are people good or bad? You bet, says Literature. But unlike other systems of knowing, Literature declines to eradicate one truth in favor of another.
If you are at all successful in your business, be prepared to never have another good day or bad day at work. There will be so many things - good and bad - happening on any given day that you will be on a roller coaster of highs and lows. If that excites you, then go for it.
Literature, real literature, must not be gulped down like some potion which may be good for the heart or good for the brain—the brain, that stomach of the soul. Literature must be taken and broken to bits, pulled apart, squashed—then its lovely reek will be smelt in the hollow of the palm, it will be munched and rolled upon the tongue with relish; then, and only then, its rare flavor will be appreciated at its true worth and the broken and crushed parts will again come together in your mind and disclose the beauty of a unity to which you have contributed something of your own blood.
I don't think immediate tragedy is a very good source of art. It can be, but too often it's raw and painful and un-dealt-with. Sometimes art can be a really good escape from the intolerable, and a good place to go when things are bad, but that doesn't mean you have to write directly about the bad thing; sometimes you need to let time pass, and allow the thing that hurts to get covered with layers, and then you take it out, like a pearl, and you make art out of it.
I'm probably my own harshest critic. If I get a hundred good reviews and one really bad one, it's that one out of a hundred that I remember. I think we actors are hard on ourselves, and I don't know why that is.
I think that a really good agent should be able to get the right publisher, which the agent has already figured out, get as much money as she can from that publisher, and make a deal, rather than have the amount of money determine the sale. That's what the best agents do.
And what we students of history always learn is that the human being is a very complicated contraption and that they are not good or bad but are good and bad and the good comes out of the bad and the bad out of the good, and the devil take the hindmost.
Writers are funny about reviews: when they get a good one they ignore it-- but when they get a bad review they never forget it. Every writer I know is the same way: you get a hundred good reviews, and one bad, andyou remember only the bad. For years, you go on and fantasize about the reviewer who didn't like your book; you imagine him as a jerk, a wife-beater, a real ogre. And, in the meantime, the reviewer has forgotten all about the whole thing. But, twenty years later, the writer still remembers that one bad review.
You need good staff with their own opinions - Mick Jones has been a great No 2 as he's not a yes-man - but at the end of the day the buck stops with you and the good managers are the ones who make more good decisions than bad.
Ram, ass, and horse, my Kyrnos, we look over With care, and seek good stock for good to cover; And yet the best men make no argument, But wed, for money, runts of poor descent. So too a woman will demean her state And spurn the better for the richer mate. Money's the cry. Good stock to bad is wed And bad to good, till all the world's cross-bred. No wonder if the country's breed declines- Mixed metal, Kyrnos, that but dimly shines.
When you start out as an actor, you read a script thinking of it at its best. But that's not usually the case in general, and usually what you have to do is you have to read a script and think of it at its worst. You read it going, "OK, how bad could this be?" first and foremost. You cannot make a good film out of a bad script. You can make a bad film out of a good script, but you can't make a good film out of a bad script.
When it comes to partisan politics, everyone is a hypocrite. And all they care about is whether it hurts or helps them ... Is it good or bad for the Democrats? Is it good or bad for the Republicans? Is it good or bad for Jews, or good or bad for blacks, or is it good or bad for women? Is it good or bad for men? Is it good or bad for gays? That's the way people think about issues today. There is very little discussion of enduring principles.
When politicians and politically minded people pay too much attention to literature, it is a bad sign - a bad sign mostly for literature. But it is also a bad sign when they don't want to hear the word mentioned.
Genius is always sufficiently the enemy of genius by over influence. The literature of every nation bear me witness. The English dramatic poets have Shakspearized now for two hundred years.
Anyone can have a good day. The question is what do you do on a bad day. That's when you're being tested. In a very tangible sense, a bad day shows your innermost essence more than a good day.
Anuj Bahari has always been a really good literary agent for me. What a good agent does is that he manages many of your business aspects so you can keep your time free for writing.
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