A Quote by Camille Perri

I wrote 'The Assistants' while I was the Assistant to the Editor-in-Chief of 'Esquire.' — © Camille Perri
I wrote 'The Assistants' while I was the Assistant to the Editor-in-Chief of 'Esquire.'
I was the assistant to the editor-in-chief of 'Esquire Magazine.' And my experience as an assistant was really best case scenario. My boss was absolutely the greatest boss I could have asked for. But I think there's something universal about being an assistant, regardless of whether or not your boss is the greatest or a complete terror.
1968 in Paris renewed my options. There was suddenly a desire of inventing new things, and I while I was working as an editor, the assistant editor thought I had a gift, and when he shot his own film, he hired me as his assistant camera, and I trained myself to do the light for him.
I was incredibly determined - I wrote short stories, I wrote the beginnings of novels. I wrote a little children's book and sent it to the editor-in-chief of the children's division of Simon and Schuster and she asked me to write a little children's book for a series she was doing.
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.
I was the editor of the News of the World; I was the editor of the Sun and chief executive.
I was a production assistant in the post department on 'The Surreal Life.' And it's been reported before that I was an assistant editor on 'The Surreal Life.' That is not true.
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.
My first job in the States was as a junior fashion editor at 'Harper's Bazaar,' which I enjoyed, but not for all that long because I was fired by the editor in chief, who told me that I was too 'European.'
I wrote that letter, and the one to Nixon. And I wrote more letters, and I thought it might be a magazine article. At that time I sent it to Esquire and Playboy, but anyway, I kept writing, and all of sudden I had enough and thought, well maybe it is a book.
I have three assistants, but there isn't a head assistant. All the important drawings I do myself. Every single character is also done by me.
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.
I worked as an assistant editor, actually, for a few years. That was right when I was just starting to get out at night and do a lot of stand-up, improv, and sketch work in New York. It really is invaluable. I think it pounded into me an awareness of what an editor wants and needs, in terms of clarity of a moment, where and when to start and stop a line.
I've been leading newsrooms for a while now and it's been an honor serving as Editor in Chief of N.J., but I really think that my best shot at moving the needle in politics is by getting close to it - by reading, reporting, tweeting and writing.
I first started working in film when I was 17. I was a director's assistant, an editor.
After Ann Godoff, who was editor-in-chief at Random House, left and went to Viking, I got to know Viking and the people there, and liked them very much. I also found a wonderful editor there, Wendy Wolf. It's a very congenial press.
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