A Quote by Karin Slaughter

A good editor is one of the sharpest tools a writer can have in her toolbox. — © Karin Slaughter
A good editor is one of the sharpest tools a writer can have in her toolbox.
Stories are like relics, part of an undiscovered preexisting world. The writer's job is to use the tools in his or her toolbox to get as much of each one out of the ground intact as possible.
I would never make up a character who didn't exist or an event that didn't transpire. If you're a real writer, you have other tools in your toolbox to build drama.
The sharpest tools in the box are not always the best tools for the job.
The first is that good writing consists of mastering the fundamentals (vocabulary, grammar, the elements of style) and then filling the third level of your toolbox with the right instruments. The second is that while it is impossible to make a competent writer out of a bad writer, and while is equally impossible to make a great writer out of a good one, it is possible, with lots of hard work, dedication, and timely help, to make a good writer out of a merely competent one
Being an editor doesn't make you a better writer - or vice versa. The worst thing any editor can do is be in competition with his writer.
Most written work is a conversation between the editor and the writer, that the writer essentially fulfills in public, and the editor provides the stage for that to happen as well as the prompts.
For me, from day one, I don't think I realized that I was considered undersized, but I knew I was good. I had certain tools in my toolbox that other guys didn't have, like agility, quickness and explosiveness.
You can give the greatest performance possible, but if you don't have a director who's pointing the camera in the right direction and an editor who's editing it properly, it doesn't matter what you do. The director and the editor are the most important people. Not the actors. Sometimes the writer is important. But if you don't have a good director, you can't have a good production.
Nature has provided us a spectacular toolbox. The toolbox exists. An architect far better and smarter than us has given us that toolbox, and we now have the ability to use it.
Losing is inevitable, make sure you have the tools in your toolbox to deal with it.
I knew that I was a good writer in high school and won awards, and I was the editor of my school newspaper. So I knew that I was a good writer and I wanted to somehow capitalize and sort of utilize a talent that I thought I had.
Truth is, every writer has to be a good editor, and you have to edit yourself. It's a skill every writer has to acquire.
When I think about myself as a writer, for sure I am a science fiction writer. The tools of extrapolation, the tools of anticipating the future - those are science fictional questions.
To be a good editor or a good writer, I think you really need to be a great reader first.
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.
It's funny: I always imagined when I was a kid that adults had some kind of inner toolbox full of shiny tools: the saw of discernment, the hammer of wisdom, the sandpaper of patience. But then when I grew up I found that life handed you these rusty bent old tools - friendships, prayer, conscience, honesty - and said 'do the best you can with these, they will have to do'. And mostly, against all odds, they do.
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