A Quote by Alexander Chee

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.
Being an editor doesn't make you a better writer - or vice versa. The worst thing any editor can do is be in competition with his writer.
My last point about getting started as a writer: do something first, good or bad, successful or not, and write it up before approaching an editor. The best introduction to an editor is your own written work, published or not. I traveled across Siberia on my own money before ever approaching an editor; I wrote my first book, Siberian Dawn, without knowing a single editor, with no idea of how to get it published. I had to risk my life on the Congo before selling my first magazine story. If the rebel spirit dwells within you, you won't wait for an invitation, you'll invade and take no hostages.
The original idea of blog publishing was that writer and reader would be on the same level. That it would be a conversation - not a lecture. People lost sight of that. We didn't. Kinja is designed to break down the walls of the ghettos. So that everybody - editor, writer, source, subject, expert, fan - can be a contributor.
Which editor? I can't think of one editor I worked with as an editor. The various companies did have editors but we always acted as our own editor, so the question has no answer.
You can give the greatest performance possible, but if you don't have a director who's pointing the camera in the right direction and an editor who's editing it properly, it doesn't matter what you do. The director and the editor are the most important people. Not the actors. Sometimes the writer is important. But if you don't have a good director, you can't have a good production.
The writer who can't do his job looks to his editor to do it for him, though he won't dream of sharing his royalties with that editor.
[Margot Hentoff] was an editor there for a time as well as a writer.
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 office of the prince and that of the writer are defined and assigned as follows: the nobleman gives rank to the written work,the writer provides food for the prince.
Most of my success, I feel, comes from being a good editor as opposed to a great writer.
My dad was an editor and a writer, and that's really where I would have liked to have gone. But the genetic link was not intact there, so I wound up going into business. But I love to write, still. I'm not a great writer, but I enjoy it.
Truth is, every writer has to be a good editor, and you have to edit yourself. It's a skill every writer has to acquire.
I think it's especially important for an editor to say what he's enjoying. For a novelist to be told, midstream, what he's doing right can actually influence the unwritten parts of a novel in a positive way - praise helps a writer know what's good about what he's written, what's interesting and exciting, and what to work for in writing the conclusion.
But for me, being an editor I've been an editor of all kinds of books being an editor of poetry has been the way in which I could give a crucial part of my time to what I love most.
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 think it's important to have an experienced writer or editor critique your work to get it ready to pitch an agent.
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