Quotes of All Topics . Occasions . Authors
My role as the chair of the fashion department at Parsons put me face to face with all the big designers, retailers, and editors. Since I was moving in these new circles regularly, I realized I needed to do something about my own personal style. It was really Diane von Furstenberg who gave me the nudge.
You can write ten versions of a scene, and then, on the day, discover that something in the original scene worked. It's hard on writers. Hard on actors, hard on editors, hard on me, hard on the producers, who require patience and confidence. But I can't get to the end without going through this process.
I write with the idea that nobody will care about what I've written; I publish with the idea that nobody will care either. Which is why every time somebody cares enough to read a novel of mine, or respond to it - a reader, a reviewer, even my own editor - I'm a little bit amazed, and so hugely grateful.
I really think that if there's any one enemy to human creativity, especially creative writing, its self-consciousness. And if you have one eye on the mirror to see how you're doing, you're not doing it as well as you can. Don't think about publishing, don't think about editors, don't think about marketplace.
There are similarities between being an editor and a tailor. Tailors have a vast supply of fabrics, buttons and thread at their disposal and put it together to make a whole. That's what an editor does - looks at society at a given time and pulls together the interesting aspects into a single issue each month.
I went from basically filming in my bedroom by myself, filming some funny videos, and then overnight, I switched into filming in some studios and some warehouses and family homes. I started filming with directors and producers and editors, and there were so many people in the room, so it was definitely weird.
My father was the editor of an agricultural magazine called 'The Southern Planter.' He didn't think of himself as a writer. He was a scientist, an agronomist, but I thought of him as a writer because I'd seen him working at his desk. I just assumed that I was going to do that, that I was going to be a writer.
The decision to work with Marvel for a while isn't any sort of denigration of DC. I had a fantastic time there, I was treated extremely well, I have strong positive feelings about all of my editors and the DC universe of characters, and I look forward to hopefully working with them at some point down the road.
I met Ulrika Jonsson on December 8, 2001, at some party hosted by the Daily Express, or maybe it was the Daily Star. The FA wanted me to travel around to various newspapers to be courteous and meet the editors. I visited the News Of The World too, and met a woman with big, red hair. I didn't memorise her name.
People think you get one idea for a cartoon every week, and that's not the way it works. You usually get 10 or 15, and you're - certainly when I was a cartoonist, before I was a cartoon editor, you're rushing to do what is called the batch. When I was doing that, I liked to have, in general, about 10 cartoons.
I never saw myself as a director. It's certainly a second language but making movies for 40 years, you pick stuff up. However, this style of making movies, this documentary style, is easier for me because I gather a lot of material and with an editor, write it on screen. You try to write based on what you shot.
I hate to say that, but the past was much more fascinating. I don't particularly care for any of the current crop of actors. I don't particularly care for any of the current crop of directors. But I have a lot of friends who are editors, and there are a lot of technical things going on here that are interesting.
I do feel that I'm talking to someone who's in a totally different place from where I was when I started modeling. I was fortunate enough to have the wonderful designers and amazing photographers around me, and editors that I knew, and if I wanted to ask a question, I asked them. So that gap has broadened a bit.
A lot of readers and a lot of editors had a story problem with Oracle, in that she made for such an easy, convenient story accelerator, that we missed the sense of having characters have to struggle to discover, to solve mysteries. Famously, it helped make Batman less of a detective and more of a monster hunter.
I remember once when I was working on a magazine, and one of the male editors was going on a field trip with one of his sons. The office was full of, 'He's such a good dad,' whereas I came in late from a doctor's appointment for one of my children and was asked, 'Where were you? You'll need to make up the time.'
These words "accessible" and "emotionally available" get thrown at us from agents and editors and publishers - or the reverse - if it's not all goo-ey and sentimental we're told it's "cold" or "uncaring" or "emotionally vacant." In other words, responses to women's writing in particular continue to be "gendered."
As an editor, you're constantly dealing with the best way to convey an exchange between two people. So when I'm shooting that, I'm just aware in the back of my head what an editor might want. And also, the problems editors run into when trying to edit performances - it helps me head that off at the pass a little.
But human deciding what to eat without professional guidance - something they have been doing with notable success since coming down out of the trees - is seriously unprofitable if you're a food company, a definite career loser if you're nutritionist, and just plain boring if you're a newspaper editor or reporter.
Facebook has become the richest and most powerful publisher in history by replacing editors with algorithms - shattering the public square into millions of personalised news feeds, shifting entire societies away from the open terrain of genuine debate and argument while they make billions from our valued attention.
I'm a lot more productive in an actual office. I love being around our other editors, and going there every day alleviates some of the guilt that I think many self-employed people feel when you know you could always be working from your laptop at home. I feel so relaxed there, while completely engaged and inspired.
There is a liberal bias. It's demonstrable. You look at some statistics. About 85 percent of the reporters who cover the White House vote Democratic, they have for a long time. There is a, particularly at the networks, at the lower levels, among the editors and the so-called infrastructure, there is a liberal bias.
My books have been translated into various languages and sold in other countries, but I never have any contact with the foreign publishers and am so disconnected from that process that it seems almost imaginary. With 'How to Save a Life', I worked closely with Usborne editors and have been involved in the publicity.
It's great to create a story and then to submit it to your editor and see what her reaction is to it. It's great to have your editor tell what her suggestions and ideas for the story are. It's great to explain to your editor why her ideas and suggestions are bizarre and to ask her why is she trying to ruin my story.
NPR editors and journalists found themselves caught in a game of trying to please a leadership team who did not want to hear stories on the air about conservatives, the poor, or anyone who didn't fit their profitable design of NPR as the official voice of college-educated, white, liberal-leaning, upper-income America.
I was just reviewed by Robert Gottlieb, who was my editor at 'The New Yorker,' and he sort of wondered at the fact that I still need to exorcise my parents at my age. I think he makes a basic mistake in thinking that exorcism can ever be total. The exorcism of your parents will still be occurring on your own deathbed.
Media is set up to give information to the people - at least that's what it says. But we all know in the U.S. that media is a capitalistic system, people are getting paid to write things, they have bosses and editors, and they have bosses, and they put pressure on people to write intriguing stories that catch the eye.
At last, the newspapers discovered the Bears. I kept writing articles about upcoming games, and by reading the papers, I learned editors like superlatives. I blush when I think how many times I wrote that the next game was going to be the most difficult of the season or how a new player was the fastest man in the West.
All the other editors at DC never gave me a moment's time. They would take the thing and give me a check and say, 'I'll see you in two weeks.' They never gave any kind of encouragement or information. They were very competitive with each other. They didn't want to teach an artist and then lose him to some other editor.
Who are these bloggers? They're not trained editors at Vogue magazine. There are bloggers writing recipes that aren't tested that aren't necessarily very good, or are copies of what really good editors have created and done. Bloggers create a kind of a popularity but they are not the experts. We have to understand that.
The truth is, an actor's performance is the result of work by a lot more people than just the actor. When you see that character portrayed up on screen, there is the work certainly of the actor, but there's the work of the editor, there's the work of what the camera was doing. What the music was doing, all of the above.
When it is my editor telling me how to rewrite a story, I listen and do what she asks because I have learned that I get a better book in the end. I can't say I'm happy when I read that editorial letter. It is always a little painful and scary. But I have learned that - bit by bit - I can make the changes and do the work.
I tend to write things seven times before I show them to my editor. I write them seven times, then I take them on tour, read them like a dozen times on tour, then go back to the room and rewrite, read and rewrite... I would never show him a first draft, because then he's really going to be sick of it by the twelfth draft.
It is of course daunting to make ones public debut in a new format, particularly with a well loved character, and in a medium as much scrutinized by the web-o-sphere as comics... But I had the comfort of having great editors at IDW (Chris Ryall and Denton Tipton) and I knew whatever I wrote, Ilias would make me look good.
The professions of novelist and journalist are very separate. As a novelist, you are ultimately working for yourself. Yes, you need the approval of a publisher and an audience, but what is valued in fiction writing - style, individual voice, insight - is scorned by the editor who is combing through your newspaper article.
When new pages are sent to editors and see rejection, we should ask for the reasons. We must study the reasons for failure and learn. It's not about struggle with our limitations or with public or the publishers. It's more about treating it like in aikido; the strength of the attack is used to defeat him with the same effort.
It's just about having faith in what I wrote and following through on the plan and making sure I get the pieces the way that I need them. It's just about executing properly in production and then in post, you know, it's working [with] and trusting my editor, and then also playing the film for people and seeing how they react.
I was co-editor of the magazine called The Jazz Review, which was a pioneering magazine because it was the only magazine, then or now, in which all the articles were written by musicians, by jazz men. They had been laboring for years under the stereotype that they weren't very articulate except when they picked up their horn.
Politicians, bureaucrats, editors, new commentators, 'economists' teachers,' and other word artists who denounce private enterprise and praise socialism are their own worst enemies...these attackers are unwittingly destroying the sources of their own livelihood. They kill the geese that lay the golden eggs - and don't know it!
It is simply no longer possible to believe much of the clinical research that is published, or to rely on the judgment of trusted physicians or authoritative medical guidelines. I take no pleasure in this conclusion, which I reached slowly and reluctantly over my two decades as an editor of The New England Journal of Medicine.
Here's a slightly outrageous tip: Don't respect the text. Just because you've written something down doesn't mean it has a right to exist. If your internal editor can find a better way to say something, junk the original version and go with the new one. If you can't find a better way, and the passage really isn't good, junk it.
Usually I design the lighting and when I have the physical set there, I'm not good at going out loosely and saying, 'Do you what you want, give it to the editor, and he'll figure it out.' I physically then walk on with the actors and I say, 'Let's walk until you guys feel the space works for you, and tell me when all that happens.
The most-asked question when someone describes a novel, movie or short story to a friend probably is, 'How does it end?' Endings carry tremendous weight with readers; if they don't like the ending, chances are they'll say they didn't like the work. Failed endings are also the most common problems editors have with submitted works.
When I look at what I'm doing today, I see [the] roots in my college life. I was the online editor of my college paper and an active member of the Harvard Computer Society. I abandoned a summer internship at the Washington Post due to injury and instead did theatre. I found my comedic voice through satirical newsletters in college.
My editor and I remain very disciplined. It's just sometimes when you're making a film, you get into the cutting room and you see a scene that's slowing you down in a certain section, but if you remove that scene then, emotionally or story-wise, another scene a half-hour later won't have the same impact. You just get stuck with it.
The global embrace of the Chilean miners had as much to do with the state of the planet as it did the fate of the trapped men. Every year, thousands of miners are trapped and die. Hundreds more are rescued. The world's press has no shortage of global good-news stories. Heroes abound if reporters and editors take the time to search.
When I signed onto 'Superman,' editors Matt Idelson and Wil Moss gave me a rough outline that JMS had turned in for the remaining issues of the 'Grounded' arc, which amounted to a couple of sentences for each issue, spelling out in general terms where the issue would take place geographically, specific guest stars, things like that.
Editing should be, especially in the case of old writers, a counselling rather than a collaborating task. The tendency of the writer-editor to collaborate is natural, but he should say to himself, 'How can I help this writer to say it better in his own style?' and avoid 'How can I show him how I would write it, if it were my piece?'
I had published a co-edited book with Oxford a decade ago, my first book actually. Years later I found myself having lunch with Lori Stone, who was an editor at Oxford at that time. We connected at a conference and over the course of lunch she told me about a wonderful new series she had just developed called Understanding Research.
On the other side, you have the conservative intelligentsia - magazines like National Review, which has a big anti-Trump issue; Weekly Standard editor, conservative talk show hosts - they're mounting a big anti-Trump effort, pro-Cruz effort because they think [Donald] Trump is dangerous and he's not qualified to be commander in chief.
I don't think fashion week will go back to what it used to be because people are realising that the industry is completely changing. It's not just in Bryant Park any more, people are figuring out who their audience is, where they want to show, they aren't really playing by the rules. It's not so much about these editors, these buyers.