A Quote by Barbara Kingsolver
This manuscript of yours that has just come back from another editor is a precious package. Don't consider it rejected. Consider that you've addressed it 'to the editor who can appreciate my work' and it has simply come back stamped 'Not at this address'. Just keep looking for the right address.
Related Quotes
A good many young writers make the mistake of enclosing a stamped, self-addressed envelope, big enough for the manuscript to come back in. This is too much of a temptation to the editor.
I come out of journalism, and then book writing. There, it's just you and your editor and maybe a copy desk, looking over your editor's shoulder, and that's the story. It's right there. I can show it to you because it's on paper.
Usually, an author writes a manuscript that is handed in to the editor. The editor will then work with an art director to find just the right illustrator for the job, and off they go. Many times, the illustrator and author never meet.
As an editor, you're constantly dealing with the best way to convey an exchange between two people. So when I'm shooting, I'm just aware in the back of my head what an editor might want.
Sometimes I write less than I'd like but do research. Other times, editor's notes or a copy-edited manuscript or page proofs for a forthcoming novel mean that I need to put my attentions elsewhere for a day or two, but I always come back to writing.
I really only became an editor, or started doing my own editing because I was filming the docs and you simply can't keep an editor on for as long as it takes so.
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.
Who is my role model and how long can I keep this going? I just move around and do different things and come back to music, try making films and come back to music, write children's books and come back to music.
My family trained me to be polite to people I had just met, and that included strangers. You speak when you're spoken to. You look people in the eye when they address you and when you address them back.
Don't worry about your physical shortcomings. I am no Greek god. Don't get too much sleep and don't tell anybody your troubles. Appearances count: Get a sun lamp to keep you looking as though you have just come back from somewhere expensive: maintain an elegant address even if you have to live in the attic. Never nickel when short of cash. Borrow big, but always repay promptly.
A lot of times in a record company environment, it's, 'All right, go out on the road, go get some experience, come back in six months, and we'll see where we are.' I've erased that. Now it's, 'This is what we're working on today. I expect you to come in tomorrow and address this and be better.'
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.
I wrote a query letter to an editor - a friend of a friend. The editor called me an idiot, told me never to contact an editor directly, and then recommended three literary agents he had worked with before. Laurie Fox was one of them, and I've never looked back.
The moment I escaped to China, I didn't have any money; I only had one address in my hand of some long-distance Chinese relatives. I didn't know China was that big. I thought I can find their home very easily, and I would come back one week later. But then I found out the address was a 10-hour drive away.
I always thought the editor should cut the film and so I'll come in and look at the movie. Just because that's the only way I can really see the ideas of the editor, it's really working together. Yes it's a hierarchy, yes I'm the boss, but I like to see and to think about the idea, and it's about us asking, 'do we have to say that?' and, 'how do we make it there?' So it's advising the editor, it's very give and take, it's very free, but in the end, it's wonderful once you get through the first couple of cuts.
Every day is still exciting. I have like a very good system worked out with my editor. Some directors are in there every day, sitting there in the room with the editor. I lose perspective incredibly quickly, and so what I do is I watch...I come in the room and give very specific notes and then I go back to my house or in my office and I watch the dailies.
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