A Quote by Hanya Yanagihara

As with editing, I think my strength as a writer is structure. It's not a skill that's much discussed when we discuss fiction, or not as much as language or character development anyway, but it's the first thing I determine before I begin writing - not just books, but anything. I think I know how to pace a narrative well. I think I'm aware of repetition, that I try to create different kinds of sentences as often as I can. Those are all things I learned from magazine editing.
The nice thing about a documentary, I think, is that so much of it is editing, too. You sort of get to keep making decisions. It's not as much like when you do a narrative, fictional piece, and you have a certain number of shooting days, and you're like, "Well, that's what it is." You can continue to seek out more photographs or try to find more footage. The genre gives you the ability to keep working on it, which is great for a first-time director.
You must stop editing--or you'll never finish anything. Begin with a time-management decision that indicates when the editing is to be finished: the deadline from which you construct your revisionary agenda. Ask yourself, 'How much editing time is this project worth?' Then allow yourself that time. If it's a 1,000-word newspaper article, it's worth editing for an hour or two. Allow yourself no more. Do all the editing you want, but decide that the article will go out at the end of the allotted time, in the form it then possesses.
With the camera, it's all or nothing. You either get what you're after at once, or what you do has to be worthless. I don't think the essence of photography has the hand in it so much. The essence is done very quietly with a flash of the mind, and with a machine. I think too that photography is editing, editing after the taking. After knowing what to take, you have to do the editing.
I don't change the language for children books. I don't make the language simpler. I use words that they might have to look up in the dictionary. The books are shorter, but there's just not that much difference other than that to be honest. And the funny thing is, I have adult writer friends [to whom I would say], "Would you think of writing a children's book?" and they go, "No, God, I wouldn't know how." They're quite intimidated by the concept of it. And when I say to children's books writers, would they write an adult book, they say no because they think they're too good for it.
In a sense, journalism can be both helpful and detrimental to a writer of fiction because the kind of writing you need to do as a journalist is so different. It has to be clear, unambiguous, concise, and as a writer often you are trying to do things that are more ambiguous. I find that writing fiction is often an antidote to reading and writing too much journalism.
There are plenty of paths to becoming a writer, but I think the most reliable ones involve total commitment: writing for magazines and newspapers, teaching writing, editing books, representing authors.
I believe that before anything else I'm a human being -- just as much as you are... or at any rate I shall try to become one. I know quite well that most people would agree with you, Torvald, and that you have warrant for it in books; but I can't be satisfied any longer with what most people say, and with what's in books. I must think things out for myself and try to understand them.
Editing is fun for me. That's where you make things happen. Filming a movie, I just try to set things up and see where it goes. Editing is a puzzle. I often don't even know what I'm trying to say. I'm just trying to make myself laugh. That's it. It's musical, or something.
I think I learned most from editing, both editing myself and having someone else edit me. It's not always easy to have someone criticize your work, your baby. But if you can swallow your ego, you can really learn from the editing.
Teaching regularly has made me an even more adept reader, I think. The kind of teaching I do is more like editing than anything else. The kind of editing book editors used to do before lunch. The kind of editing I used to do as a radio documentary maker.
Before the first xx record, I pretty much exclusively listened to electronica. Now, I listen to anything. I think the most inspiring thing is just learning more about more and more different kinds of music and becoming a fan of so many different types and so many different genres.
Ever since 'Strange Heaven,' I haven't really reread my old work. Not so much because I don't like the writer I was, or because I find flaws in the writing, but more because I get so burnt out on a novel once I've finished writing, revising, editing and copy editing it that I genuinely never want to look at it again after it's gone to press.
Every time I think I’m getting smarter I realize that I’ve just done something stupid. Dad says there are three kinds of people in the world: those who don’t know, and don’t know they don’t know; those who don’t know and do know they don’t know; and those who know and know how much they still don’t know. Heavy stuff, I know. I think I’ve finally graduated from the don’t-knows that don’t know to the don’t-knows that do.
I think of my success as a kind of fluke. How else could I possibly think of it? And although it's a banal thing to say, I wrote my book because I was writing my book. At first I didn't know I was writing it, and one of the amazing things that happened as I was putting sentences down on paper is that some of the things that are most sacred and important to me rose to the surface of the prose.
I don't like to do any editing on guitars. I think the more editing you do, it just takes away from the feel of the performance.
Unfortunately, I am very aware of editing and I look at the monitor too much. Sometimes the monitor can become your worst enemy because you can, consciously or unconsciously, start editing yourself.
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