A Quote by P. J. O'Rourke
The Lampoon started in 1970, and I began writing freelance for them around the end of 1971, and then all through '72. They hired me in '73, and I left early in '81. I did everything from low puns to being editor-in-chief.
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What makes a good editor is staying the hell out of the way as much as possible. ... If you're a DC or Marvel or Dark Horse or BOOM! editor who's assigning work, then if you did your job properly to begin with, then the people you've hired can be trusted to do what they do without excessive meddling. The ideal situation you're shooting for as an editor is to groom a collaborative creative team to the point where their work sails effortlessly through production and the most you have to do is fix the spelling and the commas.
I discovered feminism around 1970-72-precisely the time when feminism began to exist in France. Before that, there was no feminism.
About a year after (my stories began being published), magazine editor George Scithers, suggested to me that since I was so new at being published, I must be very close to what I had to learn to move from fooling around with writing to actually producing professional stories. There are a lot of aspiring writers out there who would like to know just that. Write that book.SFWW-I is that book. It's the book I was looking for when I first started writing fiction.
When I was a teenager, I did one animated series back when I was on 'General Hospital.' It was 1971 or '72. Then I didn't do animation until 'Batman.'
I realize at one point, that I was being followed, and then I began to see the surveillance that was going past the road on my house. And so, these cars began to surveil me. People began to follow me around, and it did, it was very disrupting to think that your privacy was being violated, and for no reason that I could come up with.
I started out as the assistant to the editor-in-chief at 'Ebony' magazine. She took me under her wing and gave me opportunities to take on bigger responsibilities very early on in my career.
My husband is an editor, and in fact he was the first person who hired me as an assistant editor. Then we fell in love and the rest was history.
If I didn't forgive the people who took me into the barracks and beat me unconscious over a period of days during the period when the British state was indicted for inhuman and degrading treatment in 1971-72, or even the guys who shot me, if you don't forgive them, you end up with unnecessary baggage.
I started writing probably around when I was 15, because that's when I picked up the guitar. That was also around the same time when I began to create my own music, and everything really just clicked for me, and I knew this was what I was going to do.
In the early '90s, I was hired to write educational dramas about HIV and AIDS in the shantytowns. I did that for two and a half years, and then I was hired on other films. When 'Tsotsi' presented itself, I thought, 'This is not a world I grew up in, but I've spent a great deal of time writing about it and researching it in my past.'
The Lampoon was definitely quite formative. You know there's a crazy like kind of network of comedy writers from The Lampoon that are, that kind of you know like Seinfeld and The Simpsons and a lot of shows kind of had a lot of kind of Lampoon writers and so that was very formative. I mean, to me I got interested in comedy writing at an early like reading like Dave Barry.
I left Delhi, in 1971, shortly after Collective Choice and Social Welfare was published in 1970.
I started writing sketches with Dennis Kelly, who I ended up writing 'Pulling' with. We entered a BBC competition and did quite well, then started writing bits for other people's shows. You wheedle your way in, write pilots and eventually you end up writing a sitcom.
I was born in Islington and grew up in Islington, so Arsenal was all around me, and supporting them was kind of unavoidable. The first season I started going to watch them was when we did the Double in 1971, so my first heroes were Charlie George, Ray Kennedy, and John Radford.
What happened was I began to eventually lose everything because cocaine had such a hold on me. I wouldn't show up to do things I had been hired to do - whether it was film for a video or do an ad for a magazine or something. I'd be out partying with cocaine. Eventually, I began to lose everything. So, I left California and went back to Alabama in an attempt to try to get my life together - but geographical location didn't necessarily help me because the real problem was in me.
I learned through the 'Jack Nicklaus Lesson Tee,' the cartoon. Back then, it was 1970 or '69 when it came out. Learned the grip that way and everything in the cartoon... So that's kind of how it all started for me.
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