A Quote by Oliver Goldsmith
Write how you want, the critic shall show the world you could have written better.
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It is necessary a writing critic should understand how to write. And though every writer is not bound to show himself in the capacity of critic, every writing critic is bound to show himself capable of being a writer; for if he be apparently impotent in this latter kind, he is to be denied all title or character in the other.
A literary critic is someone who can't write, but who loves to show he would have been a wonderful writer if only he could!
The way I try to explain it the best is that if Critic A from publication A hates our show, and Critic B from publication B loves our show, what are we supposed to do with that? We have to just respect everyone's opinions and go on making the show we want to make. I've never worked on a show that was altered by critical reception. You just can't afford to do that. So in that regard, it's actually no different that working in theater. It's just a lot more voices.
If I live for another ten years I shall probably have written all that I want to write.
I have never written the music that was in my heart to write; perhaps I never shall with this brain and these fingers, but I know that hereafter it will be written; when instead of these few inlets of the senses through which we now secure impressions from without, there shall be a flood of impressions from all sides; and instead of these few tones of our little octave, there shall be an infinite scale of harmonies - for I feel it - I am sure of it. This world of music, whose borders even now I have scarcely entered, is a reality, is immortal.
I'm catching up. I'm satisfied with the show. I think I want to get better and better and keep building. It took a while to figure out how to do it. I didn't know how it was gonna go. I was just like, "I better book a show and just see what happens."
Your function as a critic is to show that it is really you yourself who should have written the book, if you had had the time, and since you hadn't you are glad that someone else had, although obviously it might have been done better.
Let us, like merchants, show our foulest wares,
And think perchance they'll sell; if not,
The lustre of the better yet to show
Shall show the better.
There is always a possibility that you could lose, because the outcome isn't written yet: you have to go out and write it. If you want it bad enough, if you do the training and prepare yourself to succeed, and do everything in your power to win, you'll have a better chance of succeeding.
To me, writing is about how we see. The writers I want to read teach me how to see-see the world differently. In my writing there is no separation between how I observe the world and how I write the world. We write through our eyes. We write through our body. We write out of what we know.
How shall a man escape from that which is written; How shall he flee from his destiny?
I believe that what we want to write wants to be written. I believe that as I have an impulse to create, the something I want to create has an impulse to want to be born. My job, then, is to show up on the page and let that something move through me, in a sense, what wants to be written is none of my business.
I'm an actor and a writer and a showrunner and I edit my show. ... I have a job that three people usually have, and I have it in one person. And the idea that the critic thought that I had this excess of time for which I could go to, like, panels or write essays was just so laughable to me.
I don't keep a list of people I want to talk to. It's organic. But I'd like to interview Tom Brady. Someday I'd love to meet Vladimir Putin. I'd ask him how he sees the landscape of the world, what could make it better, how that could be done.
One day I shall write a little book of conduct myself, and I shall call it Social Problems of the Unsociable. And the root problem, beneath a hundred varying manifestions, is How to Escape. How to escape, that is, at those times, be they few or frequent, when you want to keep yourself to yourself.
It would have been better to come back at the same hour,” said the fox. “If, for example, you came at four o’clock in the afternoon, then at three o’clock I shall begin to be happy. I shall feel happier and happier as the hour advances. At four o’clock, I shall already be worrying and jumping about. I shall show you how happy I am! But if you come at just any time, I shall never know at what hour my heart is to be ready to greet you . . . One must observe the proper rites . . .
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