A Quote by Chris Pavone

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.
I worked in the book publishing business for nearly two decades before I turned my attention to writing, first with a couple ghostwriting projects, plus a crappy novel that absolutely no one wanted to publish. Then I moved to Luxembourg for my wife's job and found the inspiration for 'The Expats.'
I specialize in science and history, with a special emphasis on including do-it-yourself projects in the mix. My dozen or so books have sold hundreds of thousands of copies. I'm also a contributing editor at Popular Science and at Make Magazine.
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.
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.
I invented animals and birds - I had about two dozen. After working on them for six months, I sat down and just for fun wrote two dozen poems to accompany the drawings. It was for no one to every see, but a friend sent me in to an editor.
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.
It was not until I began to write a book called 'Light Years' that an editor really stepped in. The editor was Joe Fox at Random House, and he wound up editing a subsequent book.
The job of an editor in a publishing house is the dullest, hardest, most exciting, exasperating and rewarding of perhaps any job in the world.
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 sent The World Well Lost to one editor who rejected it on sight, and then wrote a letter to every other editor in the field warning them against the story, and urging them to reject it on sight without reading it.
I lived through a classic publishing story. My editor was fired a month before the book came out. The editor who took it over already had a full plate. It was never advertised. We didn't get reviewed in any major outlets.
A one-hundred-thousand-word novel might take a year or several years, and then you just come to 'The End' one day. But it takes hundreds of days to get to 'The End.' As a writer, you have to put in those hundreds of days.
Nobody told me how hard it was going to be to get published. I wrote four novels that nobody wanted, sent them out all over, collected hundreds and hundreds of rejection slips.
I usually submit a novel at a certain number of words, and when I've finished working with my editor, the novel is longer than when I submitted it. I need my editor to help me open up the story.
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.
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.
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