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The professionalization of poetry, or the balkanization, has come out of the fact that when you apply to most creative writing programs, you have to choose your genre.
I don't differentiate in the way that the genre creators want differentiation to be made. I feel that I have never written children's or YA stories particularly.
I've never found kicks to the groin particularly funny, although recent work in the genre of the buddy movie suggests audience research must prove me wrong.
I'm not a genre film filmmaker. I'd rather look for a topic that I think we need to bring up and discuss because there's something about the issues in the film.
I always felt that sci-fi and fantasy were my thing. Bit of a geek, Im afraid. But I like creating worlds, and I felt it was a genre that gave me more freedom. It just seemed like I belonged there.
I never paid attention when people said, "That's gotta be poetry. That's gotta be fiction," except when I was in a graduate program, and you had to claim your genre.
Whatever kind of story you're telling, whether it's a genre piece for a comic book or whatever it is, it has importance because it's all a metaphor for the existence of our being.
In the early '80s, I was blown away when I began to hear some of the earliest hip-hop songs, and I'm fascinated by all the permutations the genre has gone through.
A lot of times, actors and directors don't want to repeat something. I don't think we're repeating something, but I think there's certainly a genre that we're in, and we're happy to embrace it.
I've spoken out my whole life against the idea of simply dismissing whole areas of fiction by saying it's "genre" and therefore can't be seen as literature.
Hip-hop is a beautiful thing. I think that the music genre itself has created more millionaires than any other music genre before it, especially in our community.
I don't really worry about whether things fit into a genre or not, it's whether I like it and whether the two things sit well together, that's my main criteria when I write.
Americans have known about mounting inequality and king-sized Wall Street bonuses for years. But we also had an entire genre of journalism dedicated to brushing the problem off.
I do think, even though I've made these genre movies, there's what happens in the movie and then there's what the movie's about. And for me, what the movie's about is so much more interesting.
Gimmicks come and go; the cop show seems one genre that will never leave - not as long as people like to sit at home in the suburbs and see what awful things go on in the cities.
Being gone for so long and coming back into the game, I'm the type of person to reinvent myself pretty often and I can adapt to pretty much whatever genre is popping at the moment.
Marshall Jevons is the pioneer for integrating economics and detective fiction, and The Mystery of the Invisible Hand is another fine effort in this genre.
Genre fiction was looked at as a ghetto, but I wonder now if realist fiction, sealing itself off in the glum suburbs of a dysfunctional society, denying the use of imagination, was the ghetto.
I would describe my style of songwriting as classic. I learned very early on and have stuck to the core principles of song structure regardless of which genre I'm writing in.