A Quote by Khaled Hosseini
My wife is my in-home editor and reads everything I write.
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I have one main reader, Miriam Gomez, my wife. She reads everything I write - I have not finished writing something and she is already reading it.
I like writing books. I'd rather be at home with my wife. I can write, take a break, come out, have a glass of tea, give my wife a kiss, and go back in and write some more. It's not so bad. I am really lucky.
When I write a page that reads badly I know that it is myself who has written it. When it reads well it has come through from somewhere else.
I do everything from home. I broadcast commentaries for CBS News Radio every day - from home, on a disk that I mail in. I write a weekly op-ed piece for the 'New York Daily News,' and any books or plays or movies that I'm crazy enough to write, I do that from home.
I very much hope that when my wife reads my writings so she reads it as if she is a character and not the real one. Sometimes she takes it too personally.
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.
You and me will read a book and find three interesting things that we remember. But Colin finds everything intriguing. He reads a book about presidents and he remembers more of it because everything he reads clicks in his head as fugging interesting.
The hell with the newspapers. Nobody reads the letters to the editor column except the nuts. It's enough to get you down.
It was not until I began to write a book called 'Light Years' that an editor really stepped in. The editor was Joe Fox at Random House, and he wound up editing a subsequent book.
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.
Every first-rate editor I have ever heard of reads, edits and rewrites every word that goes into his publication.... Good editors are not 'permissive'; they do not let their colleagues do 'their thing'; they make sure that everybody does the 'paper's thing.' A good, let alone a great editor is an obsessive autocrat with a whim of iron, who rewrites and rewrites, cuts and slashes, until every piece is exactly the way he thinks it should have been done.
I write the story that nobody reads. Someday, I'm going to write it in German to see if anyone notices.
Bob Wallace was my editor at Rolling Stone when I first started writing there, and he's a wonderful editor. I was in the Philippines during the Marcos overthrow, and I was up on what was called Smokey Mountain. I think it's gone now, but it was a garbage dump with a bunch of people living on it. I was talking to Bob on the phone, and I told him, "I'm a humorist. I can't write about this." And Bob told me to let my style be dictated by the subject, to take what I saw and write about it in the tone that it requires.
One reads the papers as one wants to with a bandage over one's eyes without trying to understand the facts, listening to the soothing words of the editor as to the words of one s mistress.
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.
About 90 percent of the pieces in my home are vintage, and I'm a ruthless editor. I only live with things that I love. There is not one thing in my home that doesn't have meaning to me.
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