Quotes of All Topics . Occasions . Authors
A good many young writers make the mistake of enclosing a stamped, self-addressed envelope, big enough for the manuscript to come back in. This is too much of a temptation to the editor.
I have been collecting recipes and information for over 20 years, but three years ago, my editor said to me, 'You're a walking encyclopedia of food, so why don't you do an encyclopedia?'
Assange is not a 'journalist' any more than the 'editor' of al-Qaeda's new English-language magazine 'Inspire' is a 'journalist.' He is an anti-American operative with blood on his hands.
On some level, you could say you wouldn't have 'In Style Magazine' at all had Anna Wintour not decided to put celebrities on the cover of 'Vogue' from her earliest years as Editor in Chief.
One of my first jobs was at the Boston Globe. I worked in the sports department six months a year. When I was ready to graduate, the sports editor gave me a job as a schoolboy sports writer.
The art editor in charge of the covers at the 'New Yorker' is Francoise Mouly. She's very familiar with the eccentricities and personalities of cartoonists, so working with her is very easy.
Onstage I'm the one in control - I'm not at the mercy of how an editor chooses to put the scene together later. I can do things onstage that I would never do in real life. It's very freeing.
I was the girl who did everybody's homework, but I was also, like, student council president and yearbook editor and, like, all-around overachiever. Like, I'm disabled, but I can do anything.
Having anything to do with a hit film is great. Even if you're a third assistant to the director or second to the editor, if the film does well, every technician, every actor benefits from it.
When I first went up to see my editor, I was with my agent, and my editor said, 'Well, what have you been doing all these years?' And my agent said, 'He's been in recovery. From his childhood.'
I'm a novelist, editor, short story writer. I also teach, and I freelance sometimes as an arts consultant. Most of my books have been published by Warner Books, now known as Grand Central Books.
Ask your agent to set up a meeting with either your editor or the marketing department of the house or both so you can find out what they're doing, what they aren't, and what you can do to help.
Each movie I make has its own heroes, and the two heroes for me in 'Arrival' are Amy Adams and Joe Walker, the editor. We worked very, very hard, and it was, by far, the longest editing process.
I usually submit a novel at a certain number of words, and when I've finished working with my editor, the novel is longer than when I submitted it. I need my editor to help me open up the story.
I could give you some names of Workshop participants who are as good as many who are being published but haven't had the right editor recognize their merit or have not been adequately published.
I remember right after Carter got elected, I was sitting in my apartment in Albany, CA, on a Saturday listening to people call Carter and ask stupid questions while I designed the screen editor.
My first novel, 'Housekeeping,' was accepted by the first agent who read it, and bought by the first editor who read it. In general, my experience with publication has been gentle and gratifying.
It is a curious foible of a certain type of mind that it is unable to imagine a newspaper editor as one who may, on some public questions, honestly have the same view as that held by other persons.
I realise I am stepping into the shoes of a hugely respected editor in the shape of Alexandra Shulman, someone who has chosen to leave at the top of their game with a legacy of 25 years of success.
Really, anyone in the business who transitions into directing as a writer or editor or an actor or a cinematographer, at some point you have to kind of take a leap and say, 'I'm committed to this.'
I worked as a production assistant on a couple of films, and finally, I got a job at an animation studio as an editor. After that, work begat work. I got into directing music videos and commercials.
I don't mind being identified as any character as long as I'm doing a good job as an actor. I have done all kinds of roles - from an editor, judge, police officer, murderer to a corrupt businessman.
The idea that Veronica Wadley has no artistic credibility is just crazy. She has a strong reputation and when she was editor of the 'Evening Standard' she was very highly regarded in the arts sector.
I have great editors, and I always have. Somehow, great editors ask the right questions or pose things to you that get you to write better. It's a dance between you, your characters, and your editor.
Luckily, I'm not a stand-up comedian, so I don't get the fear of standing on stage in front of a dead audience: my humorous pieces have to make it past an editor before they get exposed to the public.
When I was 21, I wanted to write like Kafka. But, unfortunately for me, I wrote like a script editor for 'The Simpsons' who'd briefly joined a religious cult and then discovered Foucault. Such is life.
By the time I came to the States, I really understood how a magazine works. I came to 'Vogue' as creative director, and three years later I went back to London to be editor in chief of British 'Vogue.'
I was a writer for 'New York' magazine. I had been to business school, but what did I know? Still, everybody from the receptionists on up to the editor would ask me what they should do with their money.
Journalists don't have audiences - they have publics who can respond instantly and globally, positively or negatively, with a great deal more power than the traditional letters to the editor could wield.
Dealing with poetry is a daunting task, simply because the reason one does it as an editor at all is because one is constantly coming to terms with one's own understanding of how to understand the world.
An editor named Kerrie Hughes wanted me to write a short story that brought my fire-spider Smudge from my goblin books into the present-day world. I came up with libriomancy as a way to make that happen.
I've always been charmed by houses, and descriptions of them are prominent in my novels. So prominent, in fact, that my editor once pointed out to me that all of my early novels had houses on the covers.
In 1986, I returned to London as editor in chief of 'British Vogue.' Although I still thought of myself as totally English, to my surprise, everyone here thought I was some sort of American control freak.
I know from an editor's point of view or a publisher's point of view it's easier to slot me into a particular niche. But I know that I'd be bored unless I wrote a book that in some senses was a challenge.
I'm a wonderful editor. That's what I do best. I know exactly what I want. If I have to decide whether to wear the red dress or the blue dress or what should I have said, I am constantly changing my mind.
Never the less, at the age of fifteen, having never seen a writer, a poet, a publisher or a magazine editor, and having only the vaguest ideas of procedure, I began working on the profession I had chosen.
My first job in the States was as a junior fashion editor at 'Harper's Bazaar,' which I enjoyed, but not for all that long because I was fired by the editor in chief, who told me that I was too 'European.'
My father was a newspaper editor, so I was surrounded by journalists my entire life. I think the fact that he was so well known may be why I chose to go into magazines and move to the States at a young age.
Being editor of 'Slate' is the best job I've ever had because of the freedom and support given to me by Don Graham and the Post Co. and because of the opportunity to work with colleagues I admire and adore.
My job as an editor is to gently prod the attention of the audience to look at various parts of the frame. And that - I do that by manipulating how and where I cut and what succession of images I work with.
Every drama requires a cast. The cast may be so huge, as in Leo Tolstoy's 'Anna Karenina,' that the author or editor provides a list of characters to keep them straight. Or it may be an intimate cast of two.
I would love to direct a western. I love taking photographs and I'm always fascinated with angles. Also, my father was a film editor, and I have a talent for thinking of things that aren't always in a script.
From 1999 through 2001, I was an editor at a now-defunct magazine about the media industry called 'Brill's Content' that eventually merged with a now-defunct website about the media industry called Inside.com.
If I weren't performing, I'd be a beauty editor or a therapist. I love creativity, but I also love to help others. My mother was a hairstylist, and they listen to everyone's problems - like a beauty therapist!
When I was in college, I wanted to be editor of 'Reason' when I grew up. It was an impractical ambition, especially since the magazine was located in Santa Barbara, way off any journalist's normal career path.
As a senior editor at Tor Books and the manager of our science fiction and fantasy line, I rarely blog to promote specific projects I'm involved with, for reasons that probably don't need a lot of explanation.
In making films, you're dealing with hundreds of people and a crew, but eventually, it's you and an editor, and that part of it, I liked it a lot. The experience on 'Up in Smoke' was great. I really enjoyed it.
My training as a journalist was invaluable: when I worked on 'The Daily Express,' the editor would often ask for 1000 words within a couple of hours. I could not say I was not inspired. I had to get on with it.
The first job I was offered was as an editorial assistant. I think it was the best thing for me, in terms of being a storyteller by nature, to have spent years being an editor because I learned so much from it.
Your intention going in is to do the best you can. You go in and do your work, day to day, the best you can. But it's entirely up to the director and the editor and the producers and the studio how it turns out.