A Quote by Anna Chlumsky

First, I was a fact checker for Zagat and then I was an editorial assistant for HarperCollins publishing house. — © Anna Chlumsky
First, I was a fact checker for Zagat and then I was an editorial assistant for HarperCollins publishing house.
My first job out of college was as an editorial assistant in a New York publishing house. Being an editorial assistant is the purgatory would-be editors must endure before they can ascend the ladder and begin acquiring books on their own. I spent a year filing paperwork, writing copy, and typing rejection letters.
I studied writing at university, and I actually majored in screenwriting. Then I went to work as a bookseller and then as a sales rep and publicist and then various editorial jobs until I ended up with HarperCollins in Australia.
Before I wrote my first novel, 'The Expats,' I spent nearly two decades at various arms of publishing houses such as Random House, Workman, and HarperCollins, mostly as an acquisitions editor. But a more accurate title for that job might be rejection editor: while I acquired maybe a dozen projects per year, I'd reject hundreds upon hundreds.
If you go to a big publishing house, editorial aside, it's completely white.
Then I usually leave the choice of the second assistant director and any other assistant directors to the first assistant director, who will choose because he or she is responsible for the conduct and the efficiency of the second assistant directors.
As with many teens, my first jobs included babysitting and mopping floors at McDonald's. Since then, I've held jobs a diverse as selling used cars, selling apparel, cosmetics, and real-estate, substitute-teaching six graders, teaching undergraduate creative writing, and working as an editorial assistant for a literary magazine.
I came up in left-wing political writing. My first job out of college was working as Gore Vidal's fact checker.
The first job I was offered was as an editorial assistant. I think it was the best thing for me, in terms of being a storyteller by nature, to have spent years being an editor because I learned so much from it.
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.
There are plenty of secondary characters that I had always hoped to write, but I don't know if it will ever happen. The way contracts work, if you leave one publishing house for another, the characters tend to stay with the previous publishing house.
I first met Susan Sontag in spring 1976 when she was recovering from cancer surgery and needed someone to help type her correspondence. I had been recommended by the editors of 'The New York Review of Books,' where I'd worked as an editorial assistant.
At graduation, I assumed I'd be in publishing, but first I went to England and got a master's degree in English Literature. And then I came back to New York and had a series of publishing jobs, the way one does.
The first person who contacted us was the assistant to President Eisenhower... in the White House.
When I go on stage, I'm a different man. I become Chubby Checker, And when I'm not Chubby Checker, I'm preparing to be him.
My wife is the fact-checker, I'm in the story telling business.
For me, titles are either a natural two-second experience or stressful enough to give you an ulcer. If they don't pop out perfect on the first try, they can be really hard to repair. Or, worse, if the author thinks they pop out perfect, but the publishing house does not agree, it's difficult to shift gears. And then? Then you go insane.
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