Top 976 Editor Quotes & Sayings - Page 12

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Last updated on December 5, 2024.
Writers have a job to do. Editors do, too. You have to stand ground and cede ground on a case by case basis. When an editor tells me something isn't working and I still believe in it, I tend to think it just isn't working hard enough.
From 1961 to 1964, I was fortunate enough to work at a think tank in the Kenwood neighborhood of Chicago. As a writer and editor, I reported in a publication about the thinkers. Our offices were in a former mansion; I worked in what had been the ballroom. As I sat typing my copy, I imagined the dancers waltzing.
The thing that excites me most technologically is the ability to use VR not just for games and displaying our content, but also for creating that content. We're putting a lot of thought into what the Unreal Engine editor looks like as a VR application.
In fact, I spent 25 years as a reporter, swearing I would never become an editor. Sitting at a desk, watching other people go out and find the story, and then fussing with other people's words - I just didn't get the appeal of that.
Sometimes when I'm in the editing room and there's a new person there, like a music editor or a post person that I don't really know, I'm like, 'Oh, you shouldn't be in here. This is too personal - you can't watch this.' But then I'm like, hey dummy, you're about to show this to the whole world.
But human deciding what to eat without professional guidance - something they have been doing with notable success since coming down out of the trees - is seriously unprofitable if you're a food company, a definite career loser if you're nutritionist, and just plain boring if you're a newspaper editor or reporter.
There are writers who will do whatever they are told regardless of the circumstances - these are called 'hacks.' Your job isn't to make life difficult for your editor. But once a piece of crap goes out with your name on it, it is gone forever and will haunt you.
Reporters have a different point of view and a different job. Consequently, to the extent that you can help them turn in an interesting story that their editor is going to like and that's going to further their careers, they're going to give you more ink and cover you.
Usually I design the lighting and when I have the physical set there, I'm not good at going out loosely and saying, 'Do you what you want, give it to the editor, and he'll figure it out.' I physically then walk on with the actors and I say, 'Let's walk until you guys feel the space works for you, and tell me when all that happens.
Writing doesn't come real easy to me. I couldn't write a novel in a year. It wouldn't be readable. I don't let an editor even look at it until the second year, because it would just scare them. I just have to trust that all these scraps and dead-ends will find a way.
When my editor sent me the first two images of Joker's daughter, I was struck by how confident she looked despite her boney appearance and horribly scarred face. So I starting thinking, how did Duela gain such confidence in a world that prizes beauty?
Books are really fun because your 'voice' is pretty undiluted. There is a very direct connection between yourself and your audience. You will have an editor, but their job is to help you clarify or improve your voice, not change it.
When I worked as an editor, I read new novels being published in India every few days. They excited me tremendously for the first fifty pages or so, and boasted some true linguistic genius at times, but none of those writers could occupy more than one mind at once.
The best bit of novel writing is being allowed to write exactly what you want at the speed that you want, and to include as many different people and places and times as you want, working with pretty much only one person, the editor, whose job it is to get it in good shape for publication.
It's because you have no power. You give them all the material and the cinematographer, the director, the editor, boy what they can choose... You better hope they like you because they can slice and dice and make you look like a damn fool when your face and body are up there on a 30-foot screen.
Nation editor Katrina van den Heuvel told me that the failure to adequately cover the Downing Street Memo epitomizes the timidity, the cowardice of a media that has been manipulated, intimidated, bullied by an administration that has taken it to a high level. . lapdog news media.
I invented animals and birds - I had about two dozen. After working on them for six months, I sat down and just for fun wrote two dozen poems to accompany the drawings. It was for no one to every see, but a friend sent me in to an editor.
I was spending all my time at the 'Crimson' - like, 70 hours a week - and I didn't go to class for, like, a year. I failed out of school. I had to leave Harvard, really, halfway through my tenure as the 'Crimson' managing editor. It was this incredibly humiliating and shocking experience.
In live-action, writing, production, and editing happen in discrete stages. In animation, they overlap - happening simultaneously. This allows a real dialogue to occur between the writer, the director, the actors, and the editor, and it makes the writing process a lot more collaborative and a lot less lonely.
While writing my first 90 books, I was magazine editor, publisher, book publisher, executive, etc., so I was established in publishing. three of my seven or so books were biographies of sports stars and really opened doors for me in that area.
Apple has a passion to deliver the most amazing, innovative - and, in fact, I got criticized because in "Win," there are at least 10 references to what Steve Jobs has done, and Apple's done, in that my editor said it's too much. But Apple is a passionate company.
In film, you're so much in the hands and at the mercy of the editor, so sometimes it's good to watch it just to see how it turns out - it can be so different than how you imagined it. But sometimes it's better to just let it go for your own sense of self worth.
I am a young adult author, and so are quite a few of my friends. We all write books for the same demographic; many of us are even published by the same publishing house. Two of us, in fact, share the same editor.
When the war was over and the guys were back to shaving every day, the editor thought the Beetle Bailey strips were hurting their disciplinary efforts to get the guys back to routine.
I didn't understand in the beginning that the editor didn't want me to know the author. I'd make an effort to meet the author, but it would end up being a disaster because then I had the author telling me what I should be doing.
It is simply no longer possible to believe much of the clinical research that is published, or to rely on the judgment of trusted physicians or authoritative medical guidelines. I take no pleasure in this conclusion, which I reached slowly and reluctantly over my two decades as an editor of The New England Journal of Medicine.
I was asked by an editor to consider writing something about an American inventor. I asked him if he knew who invented the computer. He said he didn't. In that case, I told him, I should write a book about John Vincent Atanasoff.
I tried a few grad school programs because I didn't know how to make it... Eventually, I was desperate for a job, and there was a new newspaper opening up in Washington, D.C., called 'The Hill.' Even though my interest in politics wasn't huge, they gave me a job as a copy editor.
I was surprised that my wife thought it was a good idea, then again with my agent, another woman, then my editor, another woman - in spite of the fact that all three of them reacted positively I still have this fear.
The original idea of blog publishing was that writer and reader would be on the same level. That it would be a conversation - not a lecture. People lost sight of that. We didn't. Kinja is designed to break down the walls of the ghettos. So that everybody - editor, writer, source, subject, expert, fan - can be a contributor.
[Writing] books is really fun because your "voice" is pretty undiluted. There is a very direct connection between yourself and your audience. You will have an editor, but their job is to help you clarify or improve your voice, not change it.
I traveled to Israel in a small party assembled by Marty Peretz, the editor-in-chief of 'The New Republic.' Other guests included Senator Al Gore and his wife, Tipper. Like every tourist group, we climbed Masada, floated in the Dead Sea, and visited a kibbutz.
When I started at the Wall Street Journal after college in 1990, there were lots of smart women around me all the time. They were writing for the paper, serving as managing editor, winning Pulitzers and anchoring the weekend show I worked on. It was so inspiring to me.
I did not go to fashion school. I arrived in New York in 1986 from Kansas City and was working as accessories editor for Mademoiselle Magazine. While working at Mademoiselle I noticed that the market lacked stylish and sensible handbags, so I decided to create my own.
Although being economics editor sounds impressive, it does not mean I actually edit anything. It mainly reflects two decades of title-inflation at the BBC, which has given ever more status to senior reporters, presumably because it is cheaper to do that than to offer higher pay.
There were a lot of unique challenges in producing the film, such as the logistical issues inherent in producing a long-term verite film in Pakistan, dealing with Urdu and Punjabi dialogue with an English-speaking editor and all the difficulties in recording, editing and clearing so many music tracks.
The parody is the last refuge of the frustrated writer. Parodies are what you write when you are associate editor of the Harvard Lampoon. The greater the work of literature, the easier the parody. The step up from writing parodies is writing on the wall above the urinal.
Ask your editor or ask your agent to find out what the house's goals are for your book before it comes out. Get some sense of expectations so you are prepared. — © M. J. Rose
Ask your editor or ask your agent to find out what the house's goals are for your book before it comes out. Get some sense of expectations so you are prepared.
I called it ignose, not knowing which carbohydrate it was. This name was turned down by my editor. 'God-nose' was not more successful, so in the end 'hexuronic acid' was agreed upon. To-day the substance is called 'ascorbic acid' and I will use this name.
I never wanted to be an editor. I never wanted to be a boss. I just wanted to write, and it didn't make any difference whether it was fiction or nonfiction or short stories or whatever. I just - that's what I was destined to do.
An editor is like a professional reader, and as I became a better reader, I also became a better writer.
In live-action, writing, production and editing happen in discrete stages. In animation, they overlap - happening simultaneously. This allows a real dialogue to occur between the writer, the director, the actors and the editor, and it makes the writing process a lot more collaborative and a lot less lonely.
Screen is satisfying because it's so technical and mysterious. It's like playing roulette: you get a script, you think it's either great or naff, but you have no idea how it will really turn out. On stage, you are your own editor - and you get brief moments of grace, where suddenly you feel free.
My first draft is always way too long; my books start out with delusions of 'War and Peace' - and must be gently disabused. My editor is brilliant at taking me to the point where I do all the necessary cutting on my own. I like to say she's a midwife rather than a surgeon.
If you enjoy reading, writing, learning, and sharing what you have learned, don't hesitate to look for a life where you can continue to do those things. It could be as a scientist, an educator, an editor, a journalist, the founder of an organization. You only live once, and it is a tragedy if you deny yourself these options without trying to pursue them.
One thing I have noticed is that when you're a younger editor, you're more intense about it. As you go along, you relax a little. More and more, I feel that the book is the author's. You give the author your thoughts, and it's up to him or her to decide what to do.
After more than a decade as the editor of 'Wired' magazine, Chris Anderson started the company of his dreams - a robotics manufacturing company called 3D Robotics - to produce the autonomous flying vehicles coming out of DIY Drones.
It is often pointed out to me that, in a brief time, I have gone from unknown film editor to star of 'Gomer Pyle,' guest star in two TV specials, and a night club headliner, and that this must necessarily have wrought some deep changes in me.
I enjoyed reading and learning at school, and at university I enjoyed extending my reading and learning. Once I left Cambridge, I went to Yale as a fellow. I spent two years there. After that, George Gale made me literary editor of 'The Spectator.'
I did a guest shot on a comedy series where they did 20 to 30 takes of everything. It's just gone by then. The joke is over. It's not funny anymore, and then of course, the editor's the one that has to figure out the timing. I think a lot depends on that.
I wanted to put a reference to masturbation in one of the scripts for the Sandman. It was immediately cut by the editor [Karen Berger]. She told me, "There's no masturbation in the DC Universe." To which my reaction was, "Well, that explains a lot about the DC Universe."
The editor of a newspaper cannot be independent, but must work with one hand tied behind him by party and patrons, and be content to utter only half or two-thirds of his mind . writers of all kinds are manacled servants of the public. We write frankly and fearlessly, but then we "modify" before we print.
That is a society editor, sitting there elegantly dressed, with his legs crossed in that indolent way, observing the clothes the ladies wear, so that he can describe them for his paper and make them out finer than they are and get bribes for it and become wealthy.
I cried most days working on the first draft. The last scenes were the hardest. I had a feeling where I wanted to end - the exact note - but I couldn't see how to get there. Sarah Murphy, my editor, asked the right questions to help me. I think of 'The Bear' as a hopeful book.
I enjoyed reading and learning at school, and at university I enjoyed extending my reading and learning. Once I left Cambridge, I went to Yale as a fellow. I spent two years there. After that, George Gale made me literary editor of 'The Spectator.
In my role as Wikileaks editor, I've been involved in fighting off many legal attacks. To do that, and keep our sources safe, we have had to spread assets, encrypt everything, and move telecommunications and people around the world to activate protective laws in different national jurisdictions.
I started creative writing classes at Aberdeen Central Library, and the writer-in-residence there, Todd McEwen, encouraged me a great deal. He showed my stories to his editor, and I thought that was just what happened to everyone who took his classes!
I always try to write from memory, and I always try to use memory as an editor. So when I'm thinking of something like a relationship or whatever, then I'm letting my memory tell me what the important things were.
The first two books that I did by myself were long stories in verse. I knew I could do that because I'd written a lot in verse. But, verse stories are hard to sell, so my editor encouraged me to try writing in prose.
Usually I design the lighting and when I have the physical set there, I'm not good at going out loosely and saying, 'Do you what you want, give it to the editor, and he'll figure it out.' I physically then walk on with the actors and I say, 'Let's walk until you guys feel the space works for you, and tell me when all that happens.'
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