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Quotes / Writer Revolt

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I won't marry Jo to Laurie to please anybody.
Louisa May Alcott, author of Little Women, who is utterly fed up with the letters asking her to do just that

It's not that I hate Vachon. In fact, he's very likeable and charismatic. And if this had been a different show, I'd probably be very interested to see what he had to offer. But he just doesn't have a point here, and isn't utilized in a way that makes him worth adding this late in the game. At first I was worried they were going to make the show all about Vachon—the cool new character da kidz will like! (You know, The Slimer Principle)... Here's something that'll make the season worth it:

Vachon totally dies. Yeah, dead serious! I'm gonna go the optimistic route and assume this was a middle finger to the network.

Vachon: *cough cough* Tell everyone... I was a cool... character! *hurk* (farts)

After half a season where Mulder and Scully seem to have reverted back to their season one personas, it is now time for the ever brilliant Vince Gilligan to deconstruct their characters in a very witty way and find out what makes them tick. 'Bad Blood' offers a rare glimpse into how the two agents actually see each other, or at least how they like to present each other to other people. The joy of the piece is watching Duchovny and Anderson play these heightened versions of their usual characters, and what’s funny is that they are parodies but not so far removed from how we are used to seeing them as to be unconvincing. As an audience member you could be well within your rights to switch on and think it is business as usual if that is how you see the characters normally. In Mulder’s eyes Scully is deeply unimpressed by him, constantly sighing at the ridiculous investigations that he drags her on and rolling her eyes as he tries to cast his open mind over the facts... In Scully’s eyes, Mulder is a hyperactive, endlessly chipper and slightly patronising man who expects her to do whatever he says at the drop of a hat. She’s the professional who trails along in his wake. When she tries to make an alternative suggestion he practically laughs her out of the room... The gag of Mulder waiting in the graveyard for the killer to turn up when Ronnie drives right by and says hello says everything you need to know about his adeptness at catching killers (isn’t he supposed to be one of the best?).
Doc Oho on The X-Files, "Bad Blood"

Both Neelix and the Doctor pause to acknowledge how silly the episode’s central plot is for a ship that really should be trying to get home. 'This ship is the match of any vessel within a hundred light years, and what do they do with it?' Neelix asks rhetorically. 'Well, let’s see if we can’t find some space anomaly today that might rip it apart!' He seems to have foreseen the next few years of plotting on the show... [Michael] Piller seems wryly aware of how this seems an absurd way of developing Voyager‘s core concept – trying to do a continuation of The Next Generation, despite the fact that this is a different show. In fact, there’s a sense that Piller is having a bit of fun at the episode’s central premise, treating as something of a Star Trek cliché. The Cloud seems curiously uninterested in its anomaly of the week, and the whole thing is treated as a set-up for various character-based jokes. It’s Janeway’s monomaniacal desire for coffee that risks dooming the ship. (In fact 'there’s coffee in that nebula' feels like a playful riff on the Western cliché ''there’s gold in them there hills.').

My standard for verisimilitude is simple and I came to it when I started to write prose narrative: fuck the average reader. I was always told to write for the average reader in my newspaper life. The average reader, as they meant it, was some suburban white subscriber with two-point-whatever kids and three-point-whatever cars and a dog and a cat and lawn furniture. He knows nothing and he needs everything explained to him right away, so that exposition becomes this incredible, story-killing burden. Fuck him. Fuck him to hell.

Fuck the casual viewer. Seriously, who wants a casual viewer? If you’re a writer do you want a casual reader? I don’t want those people. Don’t want ‘em. Throwing them back. They’re like little fish on the hook. Throw ‘em back. I want the guy who’s come in who wants to be told a story. A story has a beginning, middle and an end.
David Simon, again

All of a sudden, the editor sort of gave me heck: "Todd! You gotta stop doing those... those... spaghetti webbings!" ((gasp) He gave a name to it!). Of course, I did what all smart people do, you always say yes, and I actually made the spaghetti webbing twice as long. The next two or three times they called me in, I'm like, "Why are we having this conversation? Your job is to hire me to sell books. You don't have to like me, you don't have to like my artwork, and we don't have to share burgers. All I have to do is sell books. I am doing that better than anybody in this corporation!", and it was that stuff that eventually drove me away from the company."
Todd McFarlane, Superheroes: A Never-Ending Battle

Trophy: "Don't Worry, I have Lots of Ideas for Trophies" (Get one item)
Trophy: "Like Getting Items" (Get two items)
Trophy: "Or Getting More Items" (Get three items)
Trophy: "Help Me, I'm Out of Ideas" (Get four items)
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