A Quote by Carolyn Chute
It doesn't matter that millions read as long as you share it with somebody. So I don't really think about readers or editors. You especially should never think of editors - especially never think about reviewers.
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Don't try to guess what sort of thing editors want to publish or what you think the country is in a mood to read. Editors and readers don't know what they want to read until they read it. Besides, they're always looking for something new.
Chats are so new to newspapers, historically. But they're so incredibly valuable because editors/reporters/columnists get to find out what's on the minds of our readers, what you think we should be writing about, what ticks you off, what makes you happy. Sometimes it can confirm what you think readers are interested in; sometimes it can turn you around 180 degrees.
I really think that if there's any one enemy to human creativity, especially creative writing, its self-consciousness. And if you have one eye on the mirror to see how you're doing, you're not doing it as well as you can. Don't think about publishing, don't think about editors, don't think about marketplace.
I don't think anybody reads a book of poetry front to back. Editors and reviewers only. I don't think anybody else does.
I think what we need, especially in publishing, is more commissioning editors and editors who are people of colour.
Sometimes during a conversation with a journalist - where you are answering things you never normally talk about, not even with some of your closest friends - you end up being quite confessional, and you don't think about the amplification of that. No matter how fancy these journalists are, they have editors or political leanings behind their publications, which means that, basically, they're going to shape what you've said into an article they've already written. So you have to be really careful with your words.
Basically, I've reached the point where I've lost any direct relationship to any of the editors I used to have. I suspect I'll have to pay to publish this myself, and I think a lot about about putting out fifty copies. I used to think about hogwash like my legacy and silly things like that. But I feel like if I never have another book out, I've done okay, I've had like twelve or thirteen little books, and I won't be upset about this on my death bed.
The reason 99% of all stories written are not bought by editors is very simple. Editors never buy manuscripts that are left on the closet shelf at home.
I think a lot of people have the idea of an editor being someone who comes in like a dictator, and says, "You can't have that scene." And it never is like that - or perhaps some editors are like that and they're assholes, and they're not good editors. A good editor actually says, "I respect you" and they understand that you have a vision and they're actually trying to help you realize it.
In real life, there are some times where a partner has cheated on somebody, and that person never found out about it. I have to imagine that that's happened before. It's a thing we don't really want to think about, because it's maybe the most painful thing to think about in a relationship - 'What if I've been cheated on and never knew?'
I want the look of a movie to be secondary. I really want people to be engaged in the story and the characters and not think about a style or think about me or think about the director of photography and what a great job he's doing. I never feel like that should be there.
I think screenwriters, I think editors in the cutting room - they have a lot of responsibility that we don't think about, but they could cut the coverage of an Asian person to focus on a white person because, unknowingly, they think that white person has more to say or is more interesting.
Does advertising corrupt editors? Yes it does, but fewer editors than you may suppose... the vast majority of editors are incorruptible.
Of course, you can never watch something like somebody else watches something like you, but nonetheless, you have to try. So I think on camera you learn a lot about how much the camera does for you, which is what is the great luxury of movie acting. Or acting whether it's TV or movies or whatever it is, that the camera's really such a gift because there's so much that it sees and does if you're willing to just be open and expose yourself and all of that. So you also learn what doesn't matter. And sometimes when you think about things, you think things matter that don't matter.
I treasure the fact there's media freedom, but with that goes responsibility. I think that there should be a self-regulatory organization and that they should start to think about standards. Because I think a lot of people say, "I don't know how to read what is true versus somebody else's interpretation."
I did a lot of theater, so especially as an on-camera camera actor, there are so many things that aren't in your toolbox. They're somebody else's job. You think about editors and rhythm. Volume isn't even in your control.
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