"Her first book, labored over for years, and launched full of the high hopes and ambitious dreams of youth, floundered on its voyage, though the wreck continued to float long afterward, to the profit of the publisher at least. The hastily written story, sent away with no thought beyond the few dollars it might bring, sailed with a fair wind and a wise pilot at the helm into public favor, and came home heavily laden with an unexpected cargo of gold and glory."
— Louisa May Alcott's vicarious description of her experience writing Little Women, from Jo's Boys
"I've made hundreds of legendary records that people talk about that didn't sell."
"Readers choose which books and stories they'll care about most and remember best, and if I am remembered only for a novel I wrote in 1984, and not for the better books I wrote after that, I'm not going to complain: Writers are lucky if readers care about and remember any of their works, and a writer is a fool if he criticizes his readers for liking the wrong book."
— Orson Scott Card
"In Hollywood, The Color Purple was widely seen, rightly or wrongly as Spielberg's bid for a different kind of acclaim. He deliberately set out (you can hear people say) to buy an important novel such as The Color Purple and make it into an important film, and show that he had political and social convictions to go along with his storytelling skills.
Hollywood gets perverse about situations like that. It understands very well why a man might spend a year making a movie that a 13-year-old would disdain as trash. But if a man blessed with great success tries to do something really wonderful, there is a tendency to slap him down. It is just too much of an affront to all the compromises and little ethical deaths that happen every day all over town."
—Roger Ebert on The Color Purple
"There are indeed. And the game that comes most to mind when I say that is Shadow Hearts Covenant...I think it was released alongside a Final Fantasy, and you literally couldn't have timed the thing worse if you wanted to. So yeah, I wish fans could have seen that one. And it got good reviews — everyone said it was great, one magazine said it was the best RPG of the year or something. It was critically acclaimed. It was by a real dark horse Japanese company too, some company called Sacanoth did it. And I know those guys worked their brains off too. This represented so much, it had so much effort. That's the remarkable thing about games — the good ones, the creators put so much effort, so much of their hearts into it, and they're not recognised. The industry is so rife with irony, the whole situation."
—Jeremy Blaustein, on whether there are games besides Metal Gear Solid he'd rather be known for
"As a result of demands placed on him by the BBC as well as his own desperate attempt at both salvaging the series and being able to retire comfortably, (John) Nathan-Turner purged the entire Doctor Who production staff in 1987 and took a chance on a bunch of brash young upstarts led by new script editor Andrew Cartmel: A person who, when asked what he thought the purpose of Doctor Who was, gave the absolutely delightful answer 'to bring down the government'...the Cartmel era saw an attempt to restore a sense of mystery to the character of The Doctor, and, under Sylvester McCoy he became increasingly dark, unpredictable and manipulative. This era also saw magic and the power of myths and symbols examined with the most complexity and power they'd ever been. What this all meant though was the show finally had something to prove again, and with an absolutely killer main cast comprising of Sylvester McCoy, Bonnie Langford and Sophie Aldred, Doctor Who became, in my opinion at least, the most intelligent, tight and exciting it had ever been. A shame nobody watched it: The Cartmel/McCoy era ended after only three years when the Classic Series was finally officially canceled in 1989."
—Soda Pop Art, "An Introduction to Classic Doctor Who"
"It all comes back to Metal Gear Solid 2, of course. MGS2 was a naive attempt to break away from his fate (of being stuck between serving fans and churning out predictable, 'safe' sequels for his employer) in one big, controversial riddle. Ironically, the backlash only bound him even more closely to that fate....When I imagine being in his position, I think of years of my life being consumed by one massive, demanding project after another, each with enormous pressure both financially and critically, with his name/reputation under the gun constantly. These projects are his life, and their reputation is his legacy. MGS2 had raised a very troubling question about whether Kojima was a fraud intellectual who 'doesn’t know what people want', and he still feels that deep sting of mockery to this day."
—Terry Wolf, "Only For Revenge"