Editors Quotations | Page 4

The requests for blurbs seem to come in waves. I'm not sure what precipitates them. I think it must be excruciating for editors to draft those elaborate letters asking for a blurb, and I know it's torturous for us writers to ask directly. But publishers encourage us to. Rock and a hard place.

There's a huge buzz about the sport right now. Old sports editors are set in their ways, and I don't think they'll ever get it.

The most-asked question when someone describes a novel, movie or short story to a friend probably is, 'How does it end?' Endings carry tremendous weight with readers; if they don't like the ending, chances are they'll say they didn't like the work. Failed endings are also the most common problems editors have with submitted works.

It's not only the talented editors and producers but also the machines,

It makes the publisher look bad. How did he get it past editors that are supposed to have caught it? It will cause some serious soul searching.

It's hard selling books in general: companies are merging, editors being laid off, bricks-and-mortar bookstores closing, large chain bookstores squeezing out independents, and online retailers squeezing out chain bookstores.

They will have to think through their scripts and make their own judgments just as newspaper editors and TV producers do.

There used to be a New York Stock Exchange bias but the editors have become more progressive over the years. And in this age of a shrinking world, the Dow should represent a global economy,

I'm not one of the editors of the Wall Street Journal , but I want to use the Dow as a market leading indicator, and for that you want a group of highly influential stocks, even when the news is bad. GM still represents a good part of the auto industry.

Initially, a sample sale was for 'insiders' only. It started as a designer thanking his friends and the editors who'd helped and supported him by selling designer clothing to them at extremely low prices. Now everyone is getting in on the act.

In my first story, 'Mr. Mysterious & Company'... I was asked to take out some of the humor because editors were afraid reviewers would dismiss the book as a joke. Today, humor is enjoyed and no longer regarded as literary brummagem.

I know and have worked alongside some of the designers, developers, and editors at Vox Media; you'd be proud to work with any of them.

In September 2005, I was three things: the media blogger for 'FishbowlNY,' a maniacal Daily Show fan, and the only person to smuggle a tape recorder and camera into a big Magazine Publishers of America event featuring Jon Stewart interviewing five hotshot magazine editors in an unbelievable bloodbath.

By winning three CNET Best of CES Awards, Pioneer has set a standard within their respective sectors for others to follow. Each year at CES, CNET scours the show floor to bring extensive coverage to our passionate community of consumers, who look to our editors for the best new products at the show, and Pioneer has without doubt some of the hottest products at CES 2006.

By winning a CNET Best of CES Award, Samsung's HL-S5679W sets a standard within their sector for others to follow. Each year at CES, CNET scours the show floor to bring extensive coverage to our passionate community of consumers, who look to our editors for the best new products at the show, and Samsung's HL-S5679W is without doubt one of the hottest products at CES 2006.

An editor who is a mentor, advisor, and psychiatrist. Don't kid yourself-a good editor will make your book better.

The Islamophobia phobes, (ph) the writers and the editors and the talking heads who deny an existence of evil while blaming those who speak up. There no difference - different than the apologists for communism. As communism killed millions, they, they denied it.

This impressed me when I was the editor of the Sunday Times [of London] - we had the "Bloody Sunday" killings of 13 unarmed civilians by British paratroopers. We interviewed 500 people for our report, and not one of them could give us a total picture of what was happening. It was like the Rashomon effect multiplied a million times. For a website or even a newspaper to be a collector of information flow is not the highest form of journalism.

I think there's a lot of benefit in letting people vent. When I was on the Manchester Evening News, we got 500 letters a day, and part of my job as editor was to edit them. And I thought that was one of the best things in the newspaper, and it was instituted by an editor known as Big Tom, who said 'this is the voice of the people.' And he was quite right.

It's a fascinating time, I think. I do believe that with all the qualifications I've said - [such as] the uncertain accuracy of the web - nonetheless the access to speeches, documents is unparalleled with the ease of gathering information. If I had had that access when I was an editor or coming up, it would have made my life so much easier. As it was, everything took so much longer.

I don't like to work in an office. I like to work in my house, to be among my own thoughts. The idea is for an editor to let his artist alone, let them be themselves, let them exchange their own ideas and you'll come up with something salable.

Comics have a caste system - an editor has to act in a certain way, an artist has to be humble.

Editors are constantly on the watch to discover new talents in old names.

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.

Every newspaper editor says the heart of the paper is the reporter - which is true - except for the pay!

I depend on good editors and a good director. It's up to the way they shoot it, the lighting and all that. I like how small you can be on TV.

Certain media-related developments in the country are raising questions regarding its objectivity and credibility. Paid news and the declining roles of the editors and their editorial freedom is posing a major threat to the Indian media.

But usually you're waiting around for these editors to do stuff and you get really bored. It was better for them to wait for me!

the Real-World was a sprawling mess of a book in need of a good editor.

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.

The reviewer always has hold of the wrong horror.

Listen carefully to first criticisms made of your work. Note just what it is about your work that critics don't like - then cultivate it. That's the only part of your work that's individual and worth keeping.

Media reporters have pointed out that the paragraphs in my Time column this week bear close similarities to paragraphs in Jill Lepore's essay in the April 22nd issue of The New Yorker. They are right. I made a terrible mistake. It is a serious lapse and one that is entirely my fault. I apologize unreservedly to her, to my editors at Time, and to my readers.

In a print interview, as you may or may not know, they [editors] can do whatever they want. And they do. This is why most people are more hesitant to do print, because they can change it, and they do change it. They even change things that are in quotation marks, which is a pet peeve of mine. I've said to numerous reporters, "Would you read me back my direct quotes?" And they always say no. They always say that's against the policy.

I was editor of my high school literary magazine and a reporter for the school newspaper.

And that's another piece of advice I'll give junior writers; when you get to the point where they take you to lunch, let the editor suggest where to go.

It's a shame publishers send rejection slips. Writers should get something more substantial than a slip that amounts to a pile of confetti. Publishers should send something heavier. Editors should send out rejection bricks, so at the end of a lot of years, you would have something to show besides a wheelbarrow of rejection slips. Instead you could have enough bricks to build a house.

My wife and I, we work together. And we wrote this book, "Dad Is Fat." And in the book, I was encouraged constantly by my editor to be more personal and talk about more personal experiences.

if the way ahead is not clear, time is often the best editor of one's intentions.

One of the things I like about publishing is that you don't promote the editor - you promote the book and the author.

Authors who moan with praise for their editors always seem to reek slightly of the Stockholm syndrome.

I don't even like showing my stuff to publishers and editors much.

I dont know how the editors are going to take it or how it may be received. But to some extent Im hoping that with the next book, when people pick it up and read it, it will scare the pants off of them.

The main thing is that you have a good editor - one that believes in you and who will give you the feedback that you need to produce a good book.

Calling EMACS an editor is like calling the Earth a hunk of dirt.

I see music as an aid. It overcomes my internal editor, especially when the music evokes the character or the mood I'm trying to build.

I knew that I was a good writer in high school and won awards, and I was the editor of my school newspaper. So I knew that I was a good writer and I wanted to somehow capitalize and sort of utilize a talent that I thought I had.

The resistance to my work, and to my way of writing, has been there from the beginning. The first things I wrote were these short short stories collected in At the Bottom of the River, and at least three of them are one sentence long. They were printed in The New Yorker, over the objections of many of the editors in the fiction department.

To make good films, you have to have a good relationship and good collaboration as composer-director, composer-editor, composer-production designer-actor because you're working with the actors on screen.

The New York Times' list is a bunch of crap. They ought to call it the editor's choice. It sure isn't based on sales.

Write every day; never give up; it's supposed to be difficult; try to find some pleasure and reward in the act of writing, because you can't look for praise from editors, readers, or critics. In other words, tips that are much easier to give than to take.

Don't be dismayed by the opinions of editors, or critics. They are only the traffic cops of the arts.

I don't usually see what I've done. I don't often watch the film or watch the show. It's really about that experience on-set and within the scene. Because later, when the film comes out or the show comes out it's the editor's realm or the director's realm. But that moment on set, that's that electricity between me and another actor, and that's really what excites me.

When new pages are sent to editors and see rejection, we should ask for the reasons. We must study the reasons for failure and learn. It's not about struggle with our limitations or with public or the publishers. It's more about treating it like in aikido; the strength of the attack is used to defeat him with the same effort.

Try pitching a story of happiness to your editors and their toes are going to curl up.

I'm at a stage in my career where I don't expect or get too much editorial input into what I'm doing. I have a proven track record of success, so my editors are willing to cut me some slack even when a particular approach is not to their personal taste.

Busy editors cannot be expected to put on their posters, "Mr. Wilkinson Still Safe," or "Mr. Jones, of Worthing, Not Dead Yet." They cannot announce the happiness of mankind at all. They cannot describe all the forks that are not stolen, or all the marriages that are not judiciously dissolved. Hence the complex picture they give of life is of necessity fallacious; they can only represent what is unusual.

Science today is locked into paradigms. Every avenue is blocked by beliefs that are wrong, and if you try to get anything published by a journal today, you will run against a paradigm and the editors will turn it down

An editor named Kerrie Hughes wanted me to write a short story that brought my fire-spider Smudge from my goblin books into the present-day world. I came up with libriomancy as a way to make that happen.

Critics are like brushers of noblemen's clothes.

On the other track I got to talk with Jon Poll, my editor, and we go into more detail about the decisions we made in both the production and the post-production. So I hope the combination becomes something worth collecting.

[Walter Burns is] the archetypal managing editor-ruthless, self-righteous, manipulative, downright maniacal if it means an exclusive, especially one that it can congratulate itself for on its own front page.

William Packard surely must be one of the great editors of our time.

There's this kind of incredibly mistaken idea that because it's so much cheaper to roll the camera than it used to be and it's so much easier to accumulate a ton of footage, that then you can just go shoot a ton of footage and the editor will make sense out of it. But if you don't have something deliberate made, you're not gonna save it in the editing room.

Editors and their authors seldom form deep friendships for the same reason that psychiatrists and their patients keep their distance: The relationship requires candor that mixes poorly with intimacy.

There is a liberal bias. It's demonstrable. You look at some statistics. About 85 percent of the reporters who cover the White House vote Democratic, they have for a long time. There is a, particularly at the networks, at the lower levels, among the editors and the so-called infrastructure, there is a liberal bias.

If you ever go to talk to an editor you don't want to be able to turn down a job because you can't do what is necessary.

When I went in, my editor said, ‘I hope you don’t think you’re a writer.’ And I said, ‘I hope you don’t think I’m a journalist.’ And, uh, turned out we were both right.

The 'creator' and the 'editor' - two halves of the writer whole - should sleep in separate rooms.

An editor is like a professional reader, and as I became a better reader, I also became a better writer.

I was a book editor for nine years. I'm familiar with the opposite experience, bracing myself for the likelihood that no one would want to publish my book.

Working as an editor was like being a professional reader, and the better I became at reading the better I became at writing.

To be a good editor or a good writer, I think you really need to be a great reader first.

Although I still write, research and investigate, my role is primarily that of a publisher and editor-in-chief who organises and directs other journalists.

After a certain point, most people, including editors, will tell you everything you do is great.

making final judgements about poets, cities or regions on the basis of an anthology is always dangerous: anthologies are mirages created, finally, by their editors.

On the other side, you have the conservative intelligentsia - magazines like National Review, which has a big anti-Trump issue; Weekly Standard editor, conservative talk show hosts - they're mounting a big anti-Trump effort, pro-Cruz effort because they think [Donald] Trump is dangerous and he's not qualified to be commander in chief.

An editor's job is to take something great and make it good.

There won't be editors in the future with the Internet world, with citizen reporting. That doesn't scare me.

And then my editor really likes that because he's left alone to do what...to create those things instead of me breathing over his shoulder and I like it because I don't have to sit in the editing room all day. I get to watch just dailies.

Every day is still exciting. I have like a very good system worked out with my editor. Some directors are in there every day, sitting there in the room with the editor. I lose perspective incredibly quickly, and so what I do is I watch...I come in the room and give very specific notes and then I go back to my house or in my office and I watch the dailies.

I do feel that I'm talking to someone who's in a totally different place from where I was when I started modeling. I was fortunate enough to have the wonderful designers and amazing photographers around me, and editors that I knew, and if I wanted to ask a question, I asked them. So that gap has broadened a bit.

John Loengard, the picture editor at Life, always used to tell me, ”If you want something to look interesting, don’t light all of it.

There's a way of thinking that comes with being an editor that is incredibly useful on the set. It's not just a vocabulary thing or a right-to-left thing or script supervisor stuff. It's a way of thinking about the film and the shots and the way they fit together, what you need and what you don't need, and what you can get away with if you have to.

Marxists are people whose insides are torn up day after day because they want to rule the world and no one will even publish their letter to the editor.

I very much wanted to be editor of the 'New Statesman!' But I never wanted to be prime minister, except maybe as a little boy.

Im working on a bunch of things with my daughter Emily. In some ways, shes a smarter and better editor than I am.

When I started out, people were afraid of parish priests. Now they're afraid of newspaper editors.

I think every writer should have tattooed backwards on his forehead, like ambulance on ambulances, the words 'everybody needs an editor.

Chats are so new to newspapers, historically. But they're so incredibly valuable because editors/reporters/columnists get to find out what's on the minds of our readers, what you think we should be writing about, what ticks you off, what makes you happy. Sometimes it can confirm what you think readers are interested in; sometimes it can turn you around 180 degrees.

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.

To me, Clark Kent in a phone booth and Houdini in a packing crate, they were one and the same thing," he would learnedly expound at WonderCon or Angoulême or to the editor of The Comics Journal . "You weren't the same person when you came out as when you went in.

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.

I've hung around in absolute exhaustion and starvation waiting for an idea to hit, which might have been months. I've talked things over with editors, found out what they wanted, and when they wanted it delivered.

After Ive sent my revised draft to my agent and editor, they suggest more improvement sand again, this revision phase can take anywhere from a few hours to a few months.

Hon Editor Cale Fluhart was a power politically fer years, but he never got prominent enough t' have his speeches garbled.

If teachers and grammar school editors find my jawbreaker sentences shatter their mushmilk teeth, let them eat stale cake dunked in weak tea of their own ungodly manufacture.

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.

I think I'm becoming more relaxed in front of a camera. I suppose I'll always feel slightly more at home on stage. It's more of an actor's medium. You are your own editor, nobody else is choosing what is being seen of you.

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.