A Quote by Joanna Scott

In the early 1980s, I spent a year working as an assistant at the Elaine Markson Literary Agency. — © Joanna Scott
In the early 1980s, I spent a year working as an assistant at the Elaine Markson Literary Agency.
Back in the 1980s, when I was a lowly editorial assistant by day and trying to be a novelist by night, no god reigned so supreme as the god of literary prose.
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.
I moved to London when I was 21 and I needed a job. I'd just done a year working in Waterstones in Manchester and I was looking for any old job. This advertisement came up for an editorial assistant on Dora the Explorer Magazine. Because I'd been working in the Children's Department in a bookshop for a year I just nailed the interview.
I kind of romanticized what it was like to be a writer and director when I was in my early twenties. Working as a production assistant knocked that right out of me.
And I think my daughter knows now that our life is split in two. Half of the year is spent with Mommy working and the other is spent with no work in sight.
I spent a year and a half working for an art fair. I worked as a post-production assistant for a documentary film company for a while. Then I worked at the Apple store because I wanted a discount to be able to buy new gear to edit things while I was figuring out whether or not I wanted to go to film school. Those were the main things.
I'm grateful for the likes of Kundera, Murnane, Markson, Berger, and, in his recent work, Coetzee. But no matter how celebrated they are, critics still consider them askance. Elizabeth Costello, for example, is a great novel, but it got quite a critical panning when it was published. The complaint was that it was simply a book of speeches, without the machinery of conventional fiction. Markson's books are compilations of facts and alleged facts, very artfully.
I didn't come out and roll from job to job - my first year was really tough. I had to work as a teaching assistant for an agency; I ran a pancake stall in Dulwich Market. I taught drama classes and ran my own workshops. I applied for every advert on Gumtree there possibly was.
I'm avoiding having an assistant because then I would become the horrible boss. I can't justify having an assistant as a 25-year-old; I just can't do it!
We opened the first Men's Wearhouse in Houston in August 1973, then a store a year for 10 years in Texas. In the early 1980s I opened a store in the San Francisco Bay Area. Within the year, the Texas economy was in total disarray. We were facing Chapter 11, and if not for the California store, we might not have survived.
After graduating from high school, I worked at an advertising agency as a designer. After I left, I spent a year doing nothing in particular. At age 23, I drew my first comic.
Elaine is just in pain. I think Elaine has become very, very sad woman. She is someone who is in deep need of many hours of analysis and I like to think that I'm not that type of person.
While Democrats spent the year of 2019 obstructing, President Trump spent the year achieving.
What I disliked most about working as a shop assistant wasn't the occasional snooty customer or the shop or the hours, but the way people reacted when I told them I was a shop assistant - their automatic assumption that I didn't enjoy it.
Until the 1980s, candidates spent a fraction of their time talking to donors; just a few weeks a year, a little more right before an election. True, they'd fund raise from the wealthy interests, as they do now, but it was a minuscule part of their job: policy and constituent services were the heart of the work.
Then I usually leave the choice of the second assistant director and any other assistant directors to the first assistant director, who will choose because he or she is responsible for the conduct and the efficiency of the second assistant directors.
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