A Quote by Lawrence Ferlinghetti
The real literary editors have mostly been fired. Those that remain are all 'bottom line' editors; everything depends on the money.
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Does advertising corrupt editors? Yes it does, but fewer editors than you may suppose... the vast majority of editors are incorruptible.
I wrote poems in my corner of the Brooks Street station. I sent them to two editors who rejected them right off. I read those letters of rejection years later and I agreed with those editors.
I think what we need, especially in publishing, is more commissioning editors and editors who are people of colour.
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.
Without editors planning assignments and copy editors fixing mistakes, reporters quickly deteriorate into underwear guys writing blogs from their den.
The reason 99% of all stories written are not bought by editors is very simple. Editors never buy manuscripts that are left on the closet shelf at home.
In the newspaper business, I was in the last generation before the arrival of the personnel manager. You were hired by editors - and editors who would take a chance on what they perceived to be talent and not hire a resume.
It's no surprise that the droll and (seemingly) all-knowing wizard behind the Chicago Style Q&A puts it all together-entertainingly-for manuscript editors in this real-world guide to job success and survival. The surprise is how urgent it is for every author, client, and boss who works with editors to embrace Carol Fisher Saller's 'subversiveness'-or suffer the next outcome from hell.
Anyone who thinks designers don't talk to editors, and editors don't talk to stores doesn't know what's happening...It's called crossover, sampling all references in music, art and fashion.
For better or worse, editing is what editors are for; and editing is selection and choice of material. That editors newspaper or broadcast can and do abuse this power is beyond doubt, but that is no reason to deny the discretion Congress provided.
If you look at any list of great modern writers such as Ernest Hemingway, William Faulkner, and F. Scott Fitzgerald, you'll notice two things about them:
1. They all had editors.
2. They are all dead.
Thus we can draw the scientific conclusion that editors are fatal.
I have great editors, and I always have. Somehow, great editors ask the right questions or pose things to you that get you to write better. It's a dance between you, your characters, and your editor.
It remains a mystery to me why some of that [pulp] fiction should be judged inferior to the rafts and rafts of bad social [literary] fiction which continues to be treated by literary editors as if it were somehow superior, or at least worthier of our attention. The careerist literary imperialism of the Bloomsbury years did a lot to produce fiction's present unseemly polarities.
With 'California,' editors were reading it, and fast, and others were emailing my agent to request it. Ultimately, there were a few editors interested in the book, and it sold at auction about two weeks after the submission process started. I couldn't believe it!
Don't try to guess what sort of thing editors want to publish or what you think the country is in a mood to read. Editors and readers don't know what they want to read until they read it. Besides, they're always looking for something new.
Who are these bloggers? They're not trained editors at Vogue magazine. There are bloggers writing recipes that aren't tested that aren't necessarily very good, or are copies of what really good editors have created and done. Bloggers create a kind of a popularity but they are not the experts. We have to understand that.
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