"I thought I was clever enough to write as well as these people and I didn't realize that there is something called originality and your own voice"
About this Quote
The sting in Amy Tan's admission is how quickly "clever" collapses under the weight of actual art. Cleverness is the workshop skill: you can mimic sentences, hit the right emotional beats, even sound "literary" by borrowing the cadence of writers you admire. Tan is confessing to that early-stage hustle most aspiring authors don’t like to name: the belief that excellence is basically a matter of competence and taste, plus enough stamina to keep typing.
Then she introduces the real antagonist: originality, not as some mystical bolt of genius, but as the hard, unnerving requirement to sound like yourself. The subtext is insecurity, but also a quiet rebuke to the systems that reward imitation. Writing programs, publishing trends, and canon worship can train you to optimize for approval, to produce a version of "good writing" that resembles last season’s prizewinner. Tan’s pivot reframes craft as necessary but insufficient; voice is the part you can’t outsource, the one that forces you to excavate your history, your syntax, your contradictions.
Context matters because Tan’s career is so tied to questions of authenticity and belonging: how language carries family, migration, and cultural translation. Her line reads like a personal breakthrough and a cultural one. It’s not just about being different; it’s about recognizing that your perspective isn’t a handicap to polish away. It’s the only material that can’t be duplicated, and the only reason anyone needs another book.
Then she introduces the real antagonist: originality, not as some mystical bolt of genius, but as the hard, unnerving requirement to sound like yourself. The subtext is insecurity, but also a quiet rebuke to the systems that reward imitation. Writing programs, publishing trends, and canon worship can train you to optimize for approval, to produce a version of "good writing" that resembles last season’s prizewinner. Tan’s pivot reframes craft as necessary but insufficient; voice is the part you can’t outsource, the one that forces you to excavate your history, your syntax, your contradictions.
Context matters because Tan’s career is so tied to questions of authenticity and belonging: how language carries family, migration, and cultural translation. Her line reads like a personal breakthrough and a cultural one. It’s not just about being different; it’s about recognizing that your perspective isn’t a handicap to polish away. It’s the only material that can’t be duplicated, and the only reason anyone needs another book.
Quote Details
| Topic | Writing |
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