A Quote by Terri Windling

A good novel editor is invisible. — © Terri Windling
A good novel editor is invisible.
There are plenty of bad editors who try to impose their own vision on a book. (…) A good novel editor is invisible.
I usually submit a novel at a certain number of words, and when I've finished working with my editor, the novel is longer than when I submitted it. I need my editor to help me open up the story.
For my part, the good novel of character is the novel I can always pick up; but the good novel of incident is the novel I can never lay down.
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.
Eisenstein was a good editor. I was trained as a film editor, and I've no doubt that the editor is key to a film.
INVISIBLE BOY And here we see the invisible boy In his lovely invisible house, Feeding a piece of invisible cheese To a little invisible mouse. Oh, what a beautiful picture to see! Will you draw an invisible picture for me?
I couldn't decide on a title for my first novel and my editor came up with Everything Good Will Come. After that, I thought I should name my own books.A Bit of Difference seems just right.
An editor who is a mentor, advisor, and psychiatrist. Don't kid yourself-a good editor will make your book better.
If invisible people eat invisible food does invisible wind blow invisible trees?
Before I wrote my first novel, 'The Expats,' I spent nearly two decades at various arms of publishing houses such as Random House, Workman, and HarperCollins, mostly as an acquisitions editor. But a more accurate title for that job might be rejection editor: while I acquired maybe a dozen projects per year, I'd reject hundreds upon hundreds.
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.
Having been an editor for more than a decade, I thought I had a good idea of how much work was involved in writing a novel. I was wrong! Writing is a lot harder than I ever imagined - but worth it.
I think it's especially important for an editor to say what he's enjoying. For a novelist to be told, midstream, what he's doing right can actually influence the unwritten parts of a novel in a positive way - praise helps a writer know what's good about what he's written, what's interesting and exciting, and what to work for in writing the conclusion.
The DNA of the novel - which, if I begin to write nonfiction, I will write about this - is that: the title of the novel is the whole novel. The first line of the novel is the whole novel. The point of view is the whole novel. Every subplot is the whole novel. The verb tense is the whole novel.
After writing each novel, I would spend days poring over suggestions from my editor.
Screenwriting is a much more collaborative effort. When you write a novel, it's just you, with input from your editor.
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