Quotes of All Topics . Occasions . Authors
There are more women editors than people realise. I think we're more able to keep our eye on what the film needs. Between men, sometimes it's a real ego battle, and that's very bad for the film.
I do have a small collection of traditional SF ideas which I've never been able to sell. I'm known as a fantasy writer and neither my agent nor my editors want to risk my brand by jumping genre.
Most written work is a conversation between the editor and the writer, that the writer essentially fulfills in public, and the editor provides the stage for that to happen as well as the prompts.
I'm fortunate to work for a company that supports investigative journalism with strong editors and lawyers. That's the benefit of working for a company that's been around for more than a century.
Since September 11 2001, editors in America have faced some excruciating choices, as the attempt to wage a war against a new kind of enemy sometimes strained the boundaries of our laws and values.
Since fantasy isn't about technology, the accelleration has no impact at all. But it's changed the lives of fantasy writers and editors. I get to live in England and work for a New York publisher!
I think on civilian casualties they could do more. It's actually something I've discussed with the editors involved. They're aware of it, and I'm hopeful that there will be more reporting on that.
Angelo Corrao was our editor [in Dream of Life], and he was just so diligent and so old-school in the way he looked at editing. He would take my far-out ideas and tame them and make sense of them.
For the most part, editors no longer view 'Doonesbury' as a rolling provocation, which is fine by me. It makes no sense to intentionally antagonize the very people on whose support you most depend.
Having been an editor for more than a decade, I thought I had a good idea of how much work was involved in writing a novel. I was wrong! Writing is a lot harder than I ever imagined - but worth it.
It turns out she is Canadian, my editor, and so she drinks like a fish. So she wasn't a lightweight at all. And in the morning, she said that the idea still seemed like a good one, and here we are.
Ultimately, you just have to do what feels right for the film. It really helps when you have great collaborators like my editor, Eduardo Serrano, who kept telling me various scenes should be longer.
Once upon a time, gatekeepers were newspaper publishers and magazine editors and people who ran radio stations and news networks. And they decided what went above the fold and what went on page A10.
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.
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.
Editors and their authors seldom form deep friendships for the same reason that psychiatrists and their patients keep their distance: The relationship requires candor that mixes poorly with intimacy.
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.
The last thing reporters and editors want to be told is what to do and how to write. They don't want to be some politically correct, Orwellian, kind of like "you're telling me how to write about...?"
I have wanted to write from a young age, but working with so many gifted authors and editors over the years has taught me so much. I doubt I would be where I am today without that amazing experience.
The role of designers and product makers is to really become much better editors. What kind of functionality is actually needed - and truly delightful - to consumers? Remove all the extraneous stuff.
If you would be a poet, write living newspapers. Be a reporter from outer space, filing dispatches to some supreme managing editor who believes in full disclosure and has a low tolerance for bullshit.
I realized that what I was saying was threatening, somehow, to the editors of women's magazines. That it threatened the very world they were trying to paint, what I then called the "feminine mystique."
Not that I've always loved the movie when they finally come out, or if they ever come out-because many of them don't come out-but I've gotten to work with really good story editors and stuff like that.
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.
I dont know how the editors are going to take it or how it may be received. But to some extent Im hoping that with the next book, when people pick it up and read it, it will scare the pants off of them.
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.
To make good films, you have to have a good relationship and good collaboration as composer-director, composer-editor, composer-production designer-actor because you're working with the actors on screen.
I think that they had afforded me many opportunities to do good work there, and I think I did. It was a wonderful four years. I really worked with some great people, terrific producers, terrific editors.
I don't know how the editors are going to take it or how it may be received. But to some extent I'm hoping that with the next book, when people pick it up and read it, it will scare the pants off of them.
I think that being an editor, someone who works with words, is very good training for being a translator because it trains you to be attentive to words in a very specific, very concrete, very literal way.
I learned not to be so bitterly defeated when my fiction took a beating from editors. I learned in advertising to color in the lines and have my work done on time and to make it the very best it could be.
I have always had a hard time revising my work as a journalist, which was never much of a problem. You always have editors as backstops. Their job is to perfect your story. Most of them want to be useful.
When I decided to launch my first knitwear line, it was because I saw a void in the basics category. The editors were always looking for cool, fashion-forward tees and sweaters. So that's where I started.
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.
I believe I'm a better writer now than I was when I started. I'm grateful that I had good guidance because you don't make it in this business without good editors and a lot of support from your publishers.
That's why editors and publishers will never be obsolete: a reader wants someone with taste and authority to point them in the direction of the good stuff, and to keep the awful stuff away from their door.
The thing with newspapers is that they are a filter. We're relying on the editors of that paper to be a filter and to tell you that this is worth reading about, this is quality, and this is quite reliable.
To write a good memoir you must become the editor of your own life, imposing on an untidy sprawl of half-remembered events a narrative shape and an organizing idea. Memoir is the art of inventing the truth.
[Walter Burns is] the archetypal managing editor-ruthless, self-righteous, manipulative, downright maniacal if it means an exclusive, especially one that it can congratulate itself for on its own front page.
Ultimately, a city is formed by its people and the women in Berkeley are just great. They are opinionated, they have ideas, they belong to boards, and they write letters to editors... really wonderful people.
My job, as I see it, is to give you a window into another world and another story, and then to be as graceful as I can so that you don't feel my work or the editor's work or the lens or the light or anything.
Listen carefully to first criticisms made of your work. Note just what it is about your work that critics don't like - then cultivate it. That's the only part of your work that's individual and worth keeping.
I unlearned the model of being an editor like Ezra Pound with T.S. Eliot, the unconscious belief that America was the center of the world, and that honesty meant saying what I thought and always being direct.
Honestly, I expected to get a cold reception because of my subject matter. But when editors took a look at the story I had to tell, and saw that this was not a parochial story at all, they really warmed to it
Honestly, I expected to get a cold reception because of my subject matter. But when editors took a look at the story I had to tell, and saw that this was not a parochial story at all, they really warmed to it.
There is no debate that social media is a great tool for networking with others in our industry. It can lead to friendships, support, and serendipitous connections with reviewers, agents, reporters, or editors.
As large publishers turn into monopolies, and the MBAs who are running them - maybe editors used to run them before - are steadily tightening the screws, they feel more and more that they get to call the shots.
Amazon is such a big player in publishing, but a lot of authors feel this connection to their publishing house and their editors who helped them get their books out there, so their loyalties tend to go that way.
And at that point, I think my experience in covering the subject helped me. I think editors felt comfortable with the idea of me telling this story because I had demonstrated that I know this business pretty well
A whole bunch of agents and editors looked at my stories, and they all said, in effect, 'You're a pretty good writer and you should probably get these published; when you grow up and write a novel, get in touch.'