Like many of my colleagues, I was driven to Twitter by two complementary forces: my vanity and my boss. I’ve regarded it as a clubhouse, a research tool and a venue for unloading surplus opinion. It has never really seemed like a private place, and I try to behave there more or less the way I do in the newspaper, refraining from swearing or expressing political opinions and keeping my crazier thoughts to myself. Which I suppose makes the thoughts I do express there fair game for the same kind of treatment as all my other published thoughts. They can be appropriated, parodied, parroted, misquoted and ignored. The last option is a writer’s greatest nightmare of course, but it can also be a source of comfort.

A.O. Scott, “‘The Collision of Movie-Awards Campaigning and Paracritical Chirping'”, The New York Times Magazine (19 January 2014), 47.

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