Quotes of All Topics . Occasions . Authors
I work with a lot of different editors at different publishers and magazines and so on, and having a system of shared folders makes keeping track of things a snap.
Editors of open anthologies actively seek submissions from all comers, established and unknown. They are willing to read whatever the tide washes up at their feet.
I formed a resolution to never write a word I did not want to write; to think only of my own tastes and ideals, without a thought of those of editors or publishers.
So much crap passes as information that not only does the audience sometimes miss the distinction between news and crap, the editors sometimes miss the distinction.
making final judgements about poets, cities or regions on the basis of an anthology is always dangerous: anthologies are mirages created, finally, by their editors.
None of the editors I've worked with have ever asked me to pull my punches. They've never asked me to give them anything other than my own interpretation of events.
I think I'm equally as abusive as the editors normally are for the "Letters and Tomatoes" column, which is the fan mail part of MAD Magazine and an ongoing feature.
The editors and the creators of 'The Bachelor' and 'The Bachelorette,' they are so good at casting and at finding these young, beautiful lunatics to go on the show.
The editors are committed to nothing save this: to keep common sense as fast as they can, to belabor sham as agreeably as possible, to give civilized entertainment.
Always point your finger at the chest of the person with whom you are being photographed. You will appear dynamic. And no photo editor can crop you from the picture.
Critics for established venues are vetted by editors; they usually demonstrate a certain objectivity; and they come with known backgrounds and specialized knowledge.
Rupert Murdoch has been around since the dinosaurs. He knows how to get around any independent board - as he did with me, and as he's done with other editors as well.
The border between editing and ghostwriting is, at its extremes, a bit porous. An editor really improves and sometimes restructures a manuscript and suggests changes.
Machines aren't replacing proofreaders at all. Copy editors, who proofread and much, much more, use spellcheck as a tool but read every word that appears in the paper
When I'm my own editor, there's very little difference between the first draft and the final. I write what feels right to begin with. I rarely make any major changes.
As for collaboration - I have done a lot, 26 books, and found publishers increasingly resistive to them. It's not that the books are bad; editors won't even read them.
Never buy an editor or publisher a lunch or a drink until he has bought an article, story or book from you. This rule is absolute and may be broken only at your peril.
Machines aren't replacing proofreaders at all. Copy editors, who proofread and much, much more, use spellcheck as a tool but read every word that appears in the paper.
Part of the discipline of being an editor is that you have to be a good audience member; your work is to be a surrogate audience member on the films you are working on.
When I went in, my editor said, ‘I hope you don’t think you’re a writer.’ And I said, ‘I hope you don’t think I’m a journalist.’ And, uh, turned out we were both right.
When I first started to write, I was aware of being queer, but I didn't write about it. Queer poems would probably not have been accepted by the editors I sent them to.
I've learned a heck of a lot this way [making Dark Tower comics]. I've also learned a lot from the editors at Marvel, who are always an equal part in the creative team.
Sure, some journalists use anonymous sources just because they're lazy and I think editors ought to insist on more precise identification even if they remain anonymous.
The film [Dream of Life] is the way it is because it was the rhythm of my life, and also because the director and the editor are both gifted and both fine human beings.
When finally I mustered the courage to tell a novelist friend that I was talking to editors about a biography, her reply was, 'Oh, that's okay. That's not a real book.'
Publishers, editors, agents all have one thing in common, aside from their love of cocktail parties. It's an incredible taste and an ability to find and nurture authors.
Sure, some journalists use anonymous sources just because they’re lazy, and I think editors ought to insist on more precise identification even if they remain anonymous.
After Ive sent my revised draft to my agent and editor, they suggest more improvement sand again, this revision phase can take anywhere from a few hours to a few months.
There are a few editor men with whom I am privileged to come in contact. It has not been long since it was their habit to come in contact with me. There is a difference.
Being in New York, a lot of people I knew were top-notch copy editors or photo retouchers, so I had a good community around me that knew how to do the specialized stuff.
One guy records the voices, another guy times the storyboard, another guy times the sheets, one guy is the story editor. All these jobs should be covered by the director.
And if you want to know why great editors scare the pants off of writers everywhere, read 'Eats, Shoots and Leaves' by Lynne Truss. The punctuation police are everywhere!
The fashion editor as it used to be has changed. Now you have to wear many hats, and whoever tells you differently is wrong. Now you're on TV, whether you want it or not.
To say that creative writing courses are all useless is almost as silly as saying all editors are useless. Writers of all levels can benefit from other instructive voices.
William Shawn was the editor of The New Yorker and for whom I worked for, God, 27 years; a man I respected enormously because of what he did, - what the magazine was about.
I came up with more money, took all the footage, got a great editor and made this film [Dream of Life]. But I really didn't go into it with the intention of making a movie.
There's a lot of stuff they don't teach you in the mythical editors' school. They don't teach you that you're going to have to spend a lot of your life in crisis management.
I love my editor, but that would be the definition of hell to me to live with someone and have them go page by page through my manuscript. That I want to avoid at all costs.
If teachers and grammar school editors find my jawbreaker sentences shatter their mushmilk teeth, let them eat stale cake dunked in weak tea of their own ungodly manufacture.
Three-quarters of our sites - Kotaku, Gawker, Jezebel, Deadspin, Gizmodo, Lifehacker - are led by editors who built their careers within Gawker Media. That's the career path.
How often we recall with regret that Napoleon once shot at a magazine editor and missed him and killed a publisher. But we remember with charity that his intentions were good.
I dreamt of being a writer once I started to read. I started to write 'Bonjour Tristesse' in bistros around the Sorbonne. I finished it, I sent it to editors. It was accepted.
When I write, I tend to be quite cut off from the world. At that point of time, I'm not thinking about editors, publishers or readers. I write the story the way it comes to me.
When I was 14, I entered British Vogue's annual talent contest and got a special mention. I went up to London to meet the editors and wrote about it in my high school magazine.
Unless you are in the willingness and ease and ecstasy of some kind of moment, you may end up the editor of your thoughts and of your expressions. I find I'm that way on stage.
I remember when I was working on All Alone in the Universe, and Robin Roy was my editor. When I first sent it to her, she said kids this age don't want pictures in their books.
When U.S.-based editors and columnists parachute into a news storm, it is often the stringers who keep us out of trouble, helping us glimpse the complexity behind the headlines.
Film is an editor's medium. You can create very good raw material and they can make it horrible, or you can do not so well and they can make it beautiful. You don't really know.
I was the executive editor on a little magazine called Greek Accent, whose only claim to fame is that its art director went on to be the art director of Discover for many years.
In early 1970, Newsweek's editors decided that the new women's liberation movement deserved a cover story. There was one problem, however: there were no women to write the piece.