A Quote by John McWhorter

As a linguist, I see the arbitrariness of strictures editors force on me as a writer. — © John McWhorter
As a linguist, I see the arbitrariness of strictures editors force on me as a writer.
Often I am struck in amazement about a word: I suddenly realize that the complete arbitrariness of our language is but a part of the arbitrariness of our own world in general.
One of the most useful parts of my education as a writer was the practice of reading a writer straight through - every book the writer published, in chronological order, to see how the writer changed over time, and to see how the writer's idea of his or her project changed over time, and to see all the writer tried and accomplished or failed to accomplish.
Does advertising corrupt editors? Yes it does, but fewer editors than you may suppose... the vast majority of editors are incorruptible.
I think of myself as a writer as much as I think of myself as a linguist and an academic. I really enjoy writing - playing with language and getting just the right metaphor.
Writer-directors are a little bit more liberal, rather than having just the writer on the set, because I think sometimes the writer becomes too precious with the words. If you're a writer-director, you can see what you're doing and see your work in action, so I think you can correct it right there and still not compromise yourself.
The libertarian approach is a very symmetrical one: the non-aggression principle does not rule out force, but only the initiation of force. In other words, you are permitted to use force only in response to some else's use of force. If they do not use force you may not use force yourself. There is a symmetry here: force for force, but no force if no force was used.
I have never had any problems with editors who wanted me to change my methods or point of view. I pay a lot of attention to editors, but in a different way. They sometimes catch mistakes and help with the order of poems in a book. I do not underestimate them! Indeed, I have been one myself.
Don't let anyone discourage you from writing. If you become a professional writer, there are plenty of editors, reviewers, critics, and book buyers to do that.
Honestly, I've never had anybody with 'Teen Mom' ever be anything but great to me. Except the editors - they suck. Everybody from the crew, I love them, they're like family to me... I've never had a problem with any of them. Except the editors.
I think what we need, especially in publishing, is more commissioning editors and editors who are people of colour.
The poems were the only thing I wrote that was not for everyone else. Then my editors at Penguin, who were also friends and had seen several of them, aggressively urged me to do a book. Editors can be aggressive, especially after drinks. That's how 'Beyond This Dark House' appeared.
Kids don't see me as an oldies person when I go out on stage. They see me as an energy force.
You can't force someone to see the truth, just like you can't force a blind man to see.
The real literary editors have mostly been fired. Those that remain are all 'bottom line' editors; everything depends on the money.
I think the purpose of the writer is to help us see. The writer is someone who can perhaps have the joy of helping others see.
Sadly, too much has changed about publishing ... not only does attractiveness matter to agents and editors, but there's no room anymore for a reclusive writer.
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