A Quote by Hilton Als

Of course a magazine is shaped by its editor, and each editor is different. — © Hilton Als
Of course a magazine is shaped by its editor, and each editor is different.
I was interested in creating things that I could be proud of and so, you know, I was interested in being an editor of a magazine, things that I could be proud of, and so, you know, I was interested in being an editor of a magazine, but in order to be an editor of a magazine I had to become a publisher as well. I had to pay the bills. I had to worry about the printing and the paper manufacturing and the distribution of that 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.
I just fell into the job as a fashion editor at a teen magazine. I was there for two years, and I left there as a senior fashion editor at the age of 25.
One of my first jobs was as a recipe tester for a PR agency. One week, the editor of 'Housewife' magazine called my boss and asked me to write a column - the cookery editor had gone away on a press trip. I was terrified.
A specific editor in a specific place likes the book, and you're in. A different editor on a different day goes, 'Oh, this isn't for me', or doesn't even look at it, and that's it.
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.
If you're an editor at TIME magazine or writer at TIME magazine and you are shocked to look at real documented research that says men and women are different - what in the world did you believe beforehand?
Eisenstein was a good editor. I was trained as a film editor, and I've no doubt that the editor is key to a film.
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.
My own disposition is to trust the reader. Of course, there's a line between trusting the reader and expecting her to read your mind. That's where a friend or an editor comes in. A great editor will tell you straight when you've drifted into the latter territory.
When you're editor-in-chief of a big magazine, you cannot be a cover girl for MAC; you cannot be the face of Givenchy - of course you can't; it's doesn't go with the job.
I find myself acting for an editor more, because there's a quick turnaround with television, so you want to try and seem like you're as frenetic as possible, while replicating your movement so you're giving the editor more opportunity to cut within the different takes. If you're so crazy that you're sitting in one take and standing in another, the editor can only choose one take or the other. But if you can wrangle yourself into the same spot over and over, then you give them more choices for you.
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 always warn aspiring reporters to observe three basic rules: 1. Never trust an editor. 2. Never trust an editor. 3. Never trust an editor.
An Editor becomes kind of your mother. You expect love and encouragement from an Editor.
I was the editor of the News of the World; I was the editor of the Sun and chief executive.
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