A Quote by Victoria Chang
I've always wanted editors that actually edited my poems.
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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.
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.
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.
Narrative nonfiction was not my forte. I always wanted to let my imagination run free, and the facts sometimes got in the way. At one point I wanted to illustrate Jack Prelutsky's enchanting poems. Unable to do that, I started devising and improvising my own poems, very raw at first. I immersed myself in verse, writing reams of stuff until it gelled.
I love memoirs and biographies, learning about other people's lives. Two of the ones that I loved so much were actually edited by the same person who edited my book, too. I loved 'Angela's Ashes.' I loved 'Glass Castle' so much.
After my marriage she edited everything I wrote. And what is more, she not only edited my works, she edited me.
I think a lot of people have the idea of an editor being someone who comes in like a dictator, and says, "You can't have that scene." And it never is like that - or perhaps some editors are like that and they're assholes, and they're not good editors. A good editor actually says, "I respect you" and they understand that you have a vision and they're actually trying to help you realize it.
Editors can be stupid at times. They just ignore that author's intention. I always try to read unabridged editions, so much is lost with cut versions of classic literature, even movies don't make sense when they are edited too much. I love the longueurs of a book even if they seem pointless because you can get a peek into the author's mind, a glimpse of their creative soul. I mean, how would people like it if editors came along and said to an artist, 'Whoops, you left just a tad too much space around that lily pad there, lets crop that a bit, shall we?'. Monet would be ripping his hair out.
People need to be edited; life needs to be edited. I need to be edited.
There are definitely connections between poems, but I wanted each to stand on its own. I guess it goes back to the idea of trying to zoom in and out, and to modulate, so there are different ways of looking at any experience for the reader. Even having short poems and long poems - there has to be some kind of variation in the experience of reading as a whole.
Does advertising corrupt editors? Yes it does, but fewer editors than you may suppose... the vast majority of editors are incorruptible.
I've always wanted to write poems and nothing else.
Kubrick was one of those directors who actually did practically everything in his movies. He actually directed, photographed, wrote, lit, edited - everything. A few people can be like that.
I wanted many of the poems to have long legs. At first I was calling them clothespin poems, before I knew what I was doing. The lines seem pulled on either end, tight and taut against the wind.
I do bring my teaching together with my writing. I make students write in class, and do the same prompts I give them. I'm always on the lookout for teaching poems - poems that inspire me and my students to write poems in response.
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.
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