Editors Quotations

I formed a resolution to never write a word I did not want to write; to think only of my own tastes and ideals, without a thought of those of editors or publishers.

The relationship with the words someone uses is more intimate and integrated than just a quick read and a blurb can ever be. This intimacy - the words on the page being sent back and forth from engaged editor to open author - is unique in my experience.

I trust it will not be giving away professional secrets to say that many readers would be surprised, perhaps shocked, at the questions which some newspaper editors will put to a defenseless woman under the guise of flattery.

Being a conductor is kind of a hybrid profession because most fundamentally, it is being someone who is a coach, a trainer, an editor, a director.

I don't mind being identified as any character as long as I'm doing a good job as an actor. I have done all kinds of roles - from an editor, judge, police officer, murderer to a corrupt businessman.

A whole bunch of agents and editors looked at my stories, and they all said, in effect, 'You're a pretty good writer and you should probably get these published; when you grow up and write a novel, get in touch.'

The error that we tend to make is that we think that women's magazines are what editors want and what their readers want - and thus are social indicators - when, in fact, they are what advertisers want. They're just advertising indicators.

My only claim to fame, if I have one, is that I'm an editor.

I started to write a new editor not too long ago and had it about half done after two days.

I have an editor in my head, that's why I can't read Harry Potter, because Rowling is such a lousy writer.

I try not to second-guess editors; they're the clients, and I have no expectation that my strip is going to make it into every paper every day.

I do have a small collection of traditional SF ideas which I've never been able to sell. I'm known as a fantasy writer and neither my agent nor my editors want to risk my brand by jumping genre.

Journalists who are devoted to strictly factual reporting take particular pleasure from satirical news outlets that have the liberty to laugh and even mock the hypocrisy that reporters and editors must simply observe without comment.

The paradox of being in an industry where other people are usually the gatekeepers: publishers, editors - there are a lot of barriers to having control over your career. But coming out of hip-hop, the mindset was always to create your own.

All our reporters and editors now work seamlessly in print and online. This integration has transformed the way we work. I believe this is vital to the success and growth of newspapers.

Doing comedy for film is always a challenge because you are in the hands of the editor after the fact. I am hoping I can do some more soon, I enjoy doing comedy.

Machines aren't replacing proofreaders at all. Copy editors, who proofread and much, much more, use spellcheck as a tool but read every word that appears in the paper

What had brought me to New York in the autumn of 1972 was a letter of recommendation written by Norman Mailer, the author of 'The Naked and the Dead' and American literature's leading heavyweight contender, to Dan Wolf, the delphic editor of 'The Village Voice.'

I did a lot of theater, so especially as an on-camera camera actor, there are so many things that aren't in your toolbox. They're somebody else's job. You think about editors and rhythm. Volume isn't even in your control.

Digg is like your newspaper, but rather than a handful of editors determining what's on the front page, the masses do.

Sure, some journalists use anonymous sources just because they're lazy and I think editors ought to insist on more precise identification even if they remain anonymous.

So, this is my plea to all Western editors and producers: Display the Muhammad cartoon daily, until the Islamists become accustomed to the fact that we turn sacred cows into hamburger.

I remember when an editor at the National Geographic promised to run about a dozen of my landscape pictures from a story on the John Muir trail as an essay, but when the group of editors got together, someone said that my pictures looked like postcards.

It is also one of the pleasures of oral biography, in that the reader, rather than editor, is jury.

Publishing your work is important. Even if you are giving a piece to some smaller publication for free, you will learn something about your writing. The editor will say something, friends will mention it. You will learn.

Any reviewer who expresses rage and loathing for a novel is preposterous. He or she is like a person who has put on full armor and attacked a hot fudge sundae.

Amazon is such a big player in publishing, but a lot of authors feel this connection to their publishing house and their editors who helped them get their books out there, so their loyalties tend to go that way.

A good editor understands what you're talking and writing about and doesn't meddle too much.

I depend on good editors and a good director.

You're at the mercy of the editors' hands.

That's why editors and publishers will never be obsolete: a reader wants someone with taste and authority to point them in the direction of the good stuff, and to keep the awful stuff away from their door.

I tend to overwrite; I need a good editor.

Writers' bedtimes vary, but few have been spared the shock of a copy editor's early wake-up call

Authors can get an attitude of us-against-them when it comes to publishers, but learning how authors and editors can work together taught me to look at my work in a different way and to make that work as solid as possible before it ever goes to the publisher.

Always point your finger at the chest of the person with whom you are being photographed. You will appear dynamic. And no photo editor can crop you from the picture.

If it were not for the fact that editors have become so timorous in these politically correct times, I would probably have a greater readership than I have.

And I remember that the editors wanted to have a witness to say that this was really the case, because it was a very sharp picture of the just the face, the head of the fetus inside the womb.

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 got tired of people complaining that it was too hard to use UNIX because the editor was too complicated.

I had a background in theater as an actor, and then a photographer, and then as an experimental filmmaker and editor.

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.

I began using pseudonyms early in my career, when I was being paid a quarter a cent a word for my work, and when I had to write a lot to earn a living. Sometimes I had three or four stories in a single magazine without the editor knowing they were all by me.

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.

The New York Times Bestseller 'The Amateur,' written by Ed Klein, former editor of the 'New York Times Magazine,' is one of the best books I've read.

I have been blessed to have the same editor and work for a great publishing house.

Since I'm a story-oriented critic, sometimes it's difficult to discuss issues without defining them. At the same time, I try not to give away anything that hasn't been given away in first half, in TV commercials, or that isn't obvious from the set-up of the movie. My editors are aware of this tendency of mine and read carefully for spoilers.

I don't think anybody reads a book of poetry front to back. Editors and reviewers only. I don't think anybody else does.

Truth is, every writer has to be a good editor, and you have to edit yourself. It's a skill every writer has to acquire.

If every editor turns you down, maybe you should take a second look at your text, however, just in case.

The publishing industry, unsurprisingly, is full of different people who love different things and express that love in different languages. Find the people, the editors and agents, with whom you share some language, and some sense of what makes literature worth reading.

There are many more want-to-be writers out there than good editors.

Never the less, at the age of fifteen, having never seen a writer, a poet, a publisher or a magazine editor, and having only the vaguest ideas of procedure, I began working on the profession I had chosen.

At one time I thought the Editor of the Lancet would kindly publish a letter from me on the subject, but further reflection led me to doubt whether so insignificant an individual would be noticed without some special introduction.

Editors of conservative magazines aren't out trying to raise money. The money is there; the cash reserves are in the bank.

When I write a novel, every word is mine. I welcome suggestions from my editor, but in the end, I make all the final decisions.

Newspapers and their editors have to become as accountable as the rest of us - they are not 'a special case,' and they have only themselves to blame for having lost the argument for 'exceptionalism' - and with it the right to 'self-regulation.

When I decided to launch my first knitwear line, it was because I saw a void in the basics category. The editors were always looking for cool, fashion-forward tees and sweaters. So that's where I started.

I have a huge editor in my head who's always making me miserable. But sometimes, I try to let my unconscious act out.

There are two kinds of editors, those who correct your copy and those who say it's wonderful.

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.

As large publishers turn into monopolies, and the MBAs who are running them - maybe editors used to run them before - are steadily tightening the screws, they feel more and more that they get to call the shots.

Contrary to popular belief, editors and agents are gagging for good books.

I was spoiled by theater, where there is no editor.

I had a great editor, Rebecca Corbett, from the time I was a city reporter right through to the years I worked on the 'Sun's' enterprise reporting team.

I've been around so long, most editors think I'm dead.

It's all about who's where on the food chain. When I'm the story editor, I expect my writers to follow my vision. When I'm working for another editor, I'm obliged to follow their vision.

I don't want to be an editor - I want to be really forward about that. I would be a horrible editor.

I think on civilian casualties they could do more. It's actually something I've discussed with the editors involved. They're aware of it, and I'm hopeful that there will be more reporting on that.

I had a wonderful and very successful career in New York and had the privilege of working with some of the best editors and publishers in the business.

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!

The difference between critics and audiences is that one is a group of humans and one is not.

Most writers adore their editors, and I'm no exception.

I have been a journalist, off and on, since I was 17. I was a copy boy for the 'New York Times,' when it had an edition in Paris, in 1963. I sold the paper in the streets by day and tore wire copy off the tele-printer for the editors making up the edition by night.

Anyone nit-picking enough to write a letter of correction to an editor doubtless deserves the error that provoked it.

My dad was an editor and a writer, and that's really where I would have liked to have gone. But the genetic link was not intact there, so I wound up going into business. But I love to write, still. I'm not a great writer, but I enjoy it.

I believe that all brands will become storytellers, editors and publishers, all stores will become magazines, and all media companies will become stores. There will be too many of all of them. The strongest ones, the ones who offer the best customer experience, will survive.

I think editors have to come out of a certain kind of community.

In 1972 I married again, to Elisabeth Case; she continues to be wife, companion, critic and editor: a partner in the projects and programs that we undertake.

It's incorrect to assume you can be a fashion editor because you blog, if you don't have experience to look at fashion in a professional way.

Onstage I'm the one in control - I'm not at the mercy of how an editor chooses to put the scene together later. I can do things onstage that I would never do in real life. It's very freeing.

The difference with doing a play is that you are in control. In film you are in the hands of the director and the editor and the producer

Screenwriting is a much more collaborative effort. When you write a novel, it's just you, with input from your editor.

You always want to go out there with the best book possible, so I listen to what my editors say, and even if they don't know how to fix it, I always seem to find a way. 'Trust Your Eyes' is the best book I've written, and I don't know if I can do any better.

An Editor becomes kind of your mother. You expect love and encouragement from an Editor.

A very good editor is almost a collaborator.

Critics are like eunuchs in a harem; they know how it's done, they've seen it done every day, but they're unable to do it themselves.

About 90 percent of the pieces in my home are vintage, and I'm a ruthless editor. I only live with things that I love. There is not one thing in my home that doesn't have meaning to me.

The real literary editors have mostly been fired. Those that remain are all 'bottom line' editors; everything depends on the money.

I do a lot of brainstorming with my editors.

Of course there are some actors that are better than others and performances that are better than others, but they're always embedded in the greater film. They are mediated through the work of so many other people: the director directs, the lighter sets the scene, the editors edit, the music gets put to it.

I lived through a classic publishing story. My editor was fired a month before the book came out. The editor who took it over already had a full plate. It was never advertised. We didn't get reviewed in any major outlets.

I was a newspaper editor in high school, and I truly thought of journalism as a career. I loved it.

When I came out publicly, some photo editors had a field day searching for pictures of me with a limp wrist or some other stereotypical gay signifier - as though, after decades in the public eye, they'd suddenly come across a trove of shots where I looked like a Cher impersonator.

I always have trouble with titles for my books. I usually have no title until the editor has to present the book and calls me frantically, 'Judy, we need a title.

As for collaboration - I have done a lot, 26 books, and found publishers increasingly resistive to them. It's not that the books are bad; editors won't even read them.

As a painter you're responsible yourself, 100 percent. In film, you have the editor, the director, the other actors. It has the advantage of not being solitary.

I think one of the interesting things is that vi is really a mode-based editor.

To the small group of editors and designers who would launch Wired in January 1993, technology represented the future's best hope; but to the media, the tech boom was yesterday's story.

I publish my own books, so there isn't a certain editor I owe the book to at a publishing house.

I dreamt of being a writer once I started to read. I started to write 'Bonjour Tristesse' in bistros around the Sorbonne. I finished it, I sent it to editors. It was accepted.