A Quote by John Waters
I built a career on negative reviews. I didn't get a good review ever until Fran Lebowitz gave me a good review in Interview. That was the first good review I got in 10 years.
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If I do decide to review a product, I sometimes negotiate with a company the timing of the review but never its outcome or tone. I sometimes strive to be the first to publish a review, but I never promise a good review in exchange for that timing.
Is it ever worthwhile to buy a review? Not in my opinion. With independent paid review services, quality can be a problem; plus, there are plenty of non-professional book review venues out there that will review for free.
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.
The hateful reviews are very funny. And sometimes you can enjoy a hateful review much more than a good review.
I absolutely want and prize and love and revere every single media review I get, but if I got 50 reviews from major newspapers and one review from Amazon, I still would feel a little weird: 'What's going on? Why aren't people responding?'
You know, you get a bad review as a writer, you remember it for 10 years. You get a hundred good reviews, you forget them all. You say hello to a hundred people in the city and it doesn't mean anything to you. One racist comment passes by, and it sticks with you a decade.
I prefer a good review. A bad review that dismisses us... I take it with a grain of salt. I go, 'Okay, they didn't even try.'
It was my third Second City review before I even got mentioned in the review. It was the third review where it finally was like, 'And Lauren Ash is here.' Thank God, it's about time!
Okay, this is Fran Lebowitz. She gave an interview once for the Paris Review about trying to write fiction and saying that fiction writers start talking about how characters are talking to them, and it's crazy, she's never had that. And I also thought, I'm never gonna be able to do this, because I didn't feel that for a really long time.
Reviews are all bullshit, because they always change. When House of 1000 Corpses came out, all the reviews were awful. It was impossible to find a review better than "The worst movie ever made." And now I'll see more-modern magazines, and sometimes they'll re-review things, and I'll read this great review for it. It's the same thing with White Zombie! People talk about "Oh, White Zombie, these classic records. Why don't you do them now?" Everyone hated those records when they came out! The reviews were terrible.
Incidentally, the very, very first review that James Lavelle and I saw of Endtroducing was very negative! It was in The Wire, and the context of the review was that, you know, Mo'Wax was so far behind Ninja Tune. Heheheh. And people wonder why there was this sense of a feud between labels! We just kind of looked at each other and we were like, 'Oh, well, let the floodgates open!' But, not to be facile, that was literally the last bad review I ever saw for that album.
[To the critic who wrote a negative review:] I am sitting in the smallest room of the house. Your review is before me. Soon it will be behind me.
I cherish the review-as-literature; as lapidary journalism in the eighteenth-century mode, the last hard sparkling diamond in theessayists's tarnished crown. To me, writing a good review is not just a way to make extra money, but a sacred duty.
When Paul Beatty's 'The Sellout' was first published in America in 2015, it was a small release. It got a rave review in the daily 'New York Times' and one in the weekly 'New York Times Book Review,' too, for good measure. But by and large, it was not a conversation-generating book.
With all of my films if I get one bad review and a bunch of good reviews the bad one is the only one that will stay with me, which really sucks!
I started work on my first French history book in 1969; on 'Socialism in Provence' in 1974; and on the essays in Marxism and the French Left in 1978. Conversely, my first non-academic publication, a review in the 'TLS', did not come until the late 1980s, and it was not until 1993 that I published my first piece in the 'New York Review.'
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