A Quote by Jackie Kennedy

An Editor becomes kind of your mother. You expect love and encouragement from an Editor. — © Jackie Kennedy
An Editor becomes kind of your mother. You expect love and encouragement from an Editor.
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.
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 husband is an editor, and in fact he was the first person who hired me as an assistant editor. Then we fell in love and the rest was history.
An editor who is a mentor, advisor, and psychiatrist. Don't kid yourself-a good editor will make your book better.
It's all about who's where on the food chain. When I'm the story editor, I expect my writers to follow my vision. When I'm working for another editor, I'm obliged to follow their vision.
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.
I'd love to find a lifelong female film editor as Scorsese has with Thelma Schoonmaker. I think women are probably, without generalising, sensitive to subtle things as an editor.
I come out of journalism, and then book writing. There, it's just you and your editor and maybe a copy desk, looking over your editor's shoulder, and that's the story. It's right there. I can show it to you because it's on paper.
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.
It's great to create a story and then to submit it to your editor and see what her reaction is to it. It's great to have your editor tell what her suggestions and ideas for the story are. It's great to explain to your editor why her ideas and suggestions are bizarre and to ask her why is she trying to ruin my story.
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.
What makes a good editor is staying the hell out of the way as much as possible. ... If you're a DC or Marvel or Dark Horse or BOOM! editor who's assigning work, then if you did your job properly to begin with, then the people you've hired can be trusted to do what they do without excessive meddling. The ideal situation you're shooting for as an editor is to groom a collaborative creative team to the point where their work sails effortlessly through production and the most you have to do is fix the spelling and the commas.
I was the editor of the News of the World; I was the editor of the Sun and chief executive.
Of course a magazine is shaped by its editor, and each editor is different.
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.
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