A Quote by Chris Pavone
I loved editing, and being a cookbook editor is a really a great job.
Related Quotes
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.
After university, I got a job sub-editing and for years I was a literary editor.
Teaching translation is more of an editing job. You act as editor. But you can have fun with it.
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.
I used to be an editor and I was editing young adult series. I didn't really like the books that I was reading, so I decided that I would write a book about something I'd want to read if I was 16. It turned into a Cinderella story... I developed a proposal and the characters of 'Gossip Girl' for my job.
'Hollyoaks' really is such a great place to work, and there was nothing bad whatsoever about my time there. I loved my job, I loved everybody that I worked with, and I was blessed with great story lines.
In the very beginning, women were editors because they were the people in the lab rolling the film before there was editing. Then when people like D. W. Griffith began editing, they needed the women from the lab to come and splice the film together. Cecil B. DeMille's editor was a woman. Then, when it became a more lucrative job, men moved into it.
I love cookbooks for completely different reasons. I love 'The Harry's Bar Cookbook' and Marco-Pierre White's 'White Heat' for their feel. For pure learning, Gray Kunz wrote a great cookbook, 'The Elements of Taste', published in 2001. The first time I read Charlie Trotter's, the Chicago chef's first cookbook, I was blown away.
Being robbed is a really great way of editing your belongings.
You generally know when someone asks you to do something- am I more writing, or am I more editing? The editor is the best metaphor for your job.
The border between editing and ghostwriting is, at its extremes, a bit porous. An editor really improves and sometimes restructures a manuscript and suggests changes.
But for me, being an editor I've been an editor of all kinds of books being an editor of poetry has been the way in which I could give a crucial part of my time to what I love most.
I have a great editor and I enjoy, in a masochistic way, being ruthless about my own performance. How do I know, but I think I'm quite good at saying, "That's no good. That's no good. That's it. That's it. That's good." And I'm with the editor who goes, "No, I think you're wrong. That's not your best." There's an initial point in the editing, if you're directing yourself, especially in my case, where you go, "Ouch, ouch, ouch, I can't watch this." And then, there's a point where you become hard-nosed and just take your neurosis away and go, "What's working? That's okay. That's okay. We can lose that, and lose that." You get objective about it.
I really like action. I really liked running around. I loved being really physical. I'm a big believer in it's okay if this job is really about entertaining people.
Bobby is really the one who did all the editing on that stuff. And he did all the mixing. I particularly like the record we did with Logic because Scott Harding did a great job mixing it. He's really a killing engineer.
You can give the greatest performance possible, but if you don't have a director who's pointing the camera in the right direction and an editor who's editing it properly, it doesn't matter what you do. The director and the editor are the most important people. Not the actors. Sometimes the writer is important. But if you don't have a good director, you can't have a good production.
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