Editors Quotations | Page 2

For the most part, editors no longer view 'Doonesbury' as a rolling provocation, which is fine by me. It makes no sense to intentionally antagonize the very people on whose support you most depend.

I guess if one set of my books was selling like Stephen King's, and the other wasn't selling at all, editors would want me to do the ones that sold like Stephen King's. But they seem to be willing to let me pick what I want to do next.

Editors of open anthologies actively seek submissions from all comers, established and unknown. They are willing to read whatever the tide washes up at their feet.

There are plenty of bad editors who try to impose their own vision on a book. (…) A good novel editor is invisible.

I try to help people become the best possible editors of their own work, to help them become conscious of the things they do well, of the things they need to look at again, of the wells of material they have not even begun to dip their buckets into.

I don't know how the editors are going to take it or how it may be received. But to some extent I'm hoping that with the next book, when people pick it up and read it, it will scare the pants off of them.

He was the editor of our paper. He created the publishing house in Hebrew. He was - I wouldn't say the "guru" - but really he was our teacher and a most respected man. I wrote for the paper of the youth movement.

I've had editors over the years who couldn't find a clue if it was stapled to their butt.

Try to meet as many authors, agents, and editors as you can.

I don't think fashion week will go back to what it used to be because people are realising that the industry is completely changing. It's not just in Bryant Park any more, people are figuring out who their audience is, where they want to show, they aren't really playing by the rules. It's not so much about these editors, these buyers.

I've been using the same editor, thankfully, she's been sticking with me, but I've been doing it full-on guerilla style... I haven't gotten any public sponsor or anything, because I don't want to seem like I'm trying to sell any particular thing

As we've grown 'The Daily Muse' and met contacts who want to collaborate with us, knowing who does what has helped us be clear on who we want our partners to connect with - and makes us look buttoned up, too. SEO firm? Talk to our COO. An editor from the 'Huffington Post?' Meet our Editor-in-Chief.

Veteran print editors and reporters at places like the 'Times' and 'The New Yorker' manage to feed and clothe their families without costing their companies a million bucks a month, and they produce a great deal more valuable reporting and analysis than the network news stars do.

Since fantasy isn't about technology, the accelleration has no impact at all. But it's changed the lives of fantasy writers and editors. I get to live in England and work for a New York publisher!

The Bush administration works closely with a network of rapid response digital brownshirts who work to pressure reporters and their editors for 'undermining support for our troops.'

There are similarities between being an editor and a tailor. Tailors have a vast supply of fabrics, buttons and thread at their disposal and put it together to make a whole. That's what an editor does - looks at society at a given time and pulls together the interesting aspects into a single issue each month.

I was an English major at the University of Minnesota, and I was very shy, which many people misinterpreted as intelligence. On the basis of that wrong impression, I became the editor of the campus literary magazine.

It is unsound for an independent editor to be a financial contributor to any cause which would cause any type of special pleading.

So I went out and bought myself a copy of the Writer and Artist Yearbook, bought lots of magazines and got on the phone and talked to editors about ideas for stories. Pretty soon I found myself hired to do interviews and articles and went off and did them.

When I'm my own editor, there's very little difference between the first draft and the final. I write what feels right to begin with. I rarely make any major changes.

Successful model? That's a myth. The year I modeled was the most painful year of my life. Editors would always talk to you in the third person as though you were merely a piece of merchandise.

My dad was an editor and a writer, and that's actually what I aspired to be.

Since September 11 2001, editors in America have faced some excruciating choices, as the attempt to wage a war against a new kind of enemy sometimes strained the boundaries of our laws and values.

Most of my success, I feel, comes from being a good editor as opposed to a great writer.

Any writer, I suppose, feels that the world into which he was born is nothing less than a conspiracy against the cultivation of his talent.

Nothing's harder than writing. There's no comparison. With directing, you can bounce a lot of ideas around. There's tremendous support - you've got editors and sound mixers. With writing, it's all you, and it's just crippling when people tear up your pages.

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.

Deep Throat was a very unfortunate name given to the source by the managing editor of The Washington Post.

I always had to prove myself through my actions. Be a cheerleader. Be class president. Be the editor of the newspaper.

I think it's important for the public to know, great reporting starts with a publisher who has guts and an editor who has guts.

A film actor is just a victim of directors and editors.

Assange is not a 'journalist' any more than the 'editor' of al-Qaeda's new English-language magazine 'Inspire' is a 'journalist.' He is an anti-American operative with blood on his hands.

Does advertising corrupt editors? Yes it does, but fewer editors than you may suppose... the vast majority of editors are incorruptible.

I respect and empathize with reporters and editors who must compete in today's environment. And I know full well that when I've been covering campaigns, which I still do, I've made my mistakes and have been far from perfect.

My wife is my in-home editor and reads everything I write.

After writing each novel, I would spend days poring over suggestions from my editor.

I'm trying to work only with established, respected directors. I took a lot of bad scripts and worked for a lot of lazy directors, and it was discouraging to go to the screenings and see that the director had added nothing, the editor had added nothing, there was nothing to see.

America is full of readers of all different sorts who love books in many different ways, and I keep meeting them. And I think editors should look after them, and make less effort to please people who don't actually like books.

Newspaper editors are men who separate the wheat from the chaff, and then print the chaff.

Editor: a person employed by a newspaper, whose business it is to separate the wheat from the chaff, and to see that the chaff is printed.

Even when influential political and media figures vehemently complained about the criticisms I wrote, Salon's editors unfailingly stood behind my work.

There really are so many lines of work that you can join that don't have to only be design. And that was one that particularly interested me a lot, because the editors could appreciate all the trends, all the designs and all the work of the designers.

My father was the editor of an agricultural magazine called 'The Southern Planter.' He didn't think of himself as a writer. He was a scientist, an agronomist, but I thought of him as a writer because I'd seen him working at his desk. I just assumed that I was going to do that, that I was going to be a writer.

While editors and newspaper owners currently fret over shrinking readership and lost profits, they do the one thing that insures cutting their own throats; they keep reducing space for the one feature that attracts new young readers in the first place; the comic strips.

The fashion editor as it used to be has changed. Now you have to wear many hats, and whoever tells you differently is wrong. Now you're on TV, whether you want it or not.

The public is the only critic whose opinion is worth anything at all.

When I was 21, I wanted to write like Kafka. But, unfortunately for me, I wrote like a script editor for 'The Simpsons' who'd briefly joined a religious cult and then discovered Foucault. Such is life.

I always think, if I were an editor, and I was invited to a show, and I would have to wait for 45 minutes in the dark or in the cold or in the heat, maybe I would like to have a fresh drink or a piece of chocolate.

Journalists don't have audiences - they have publics who can respond instantly and globally, positively or negatively, with a great deal more power than the traditional letters to the editor could wield.

As any editor will tell you, startling newsroom revelations are generally met with queries about where the information came from and how the reporter got it. Seriously startling revelations are followed by the vetting of libel lawyers.

Democrats in Louisville were led by Courier-Journal editor Henry Watterson and were implacably opposed to blacks voting.

My publisher, who was so good as a taster and editor, when she became a writer, lo and behold, it was all this feminine tosh.

I wrote an article on a new Porsche for 'Automobile Magazine.' I knew the editor, and she asked me to write this article. So I'm more proud of that than anything.

Jonathan Demme is a very sharp editor of his movies.

Substitute "damn" every time you're inclined to write "very"; your editor will delete it and the writing will be just as it should be.

The best young writers are convinced they need blurbs from famous writers before an editor will even read the first page of a manuscript. If this is true, then the editorial system that prevails today stinks. And let's start reforming it.

I tend to write things seven times before I show them to my editor. I write them seven times, then I take them on tour, read them like a dozen times on tour, then go back to the room and rewrite, read and rewrite... I would never show him a first draft, because then he's really going to be sick of it by the twelfth draft.

As an experienced editor, I disapprove of flashbacks, foreshadowings, and tricksy devices; they belong in the 1980s with M.A.s in postmodernism and chaos theory.

My biggest advice would be to take the pictures you want to take. Don’t think about the marketplace, what sells or what an editor might say. And don’t think about style. It’s all bullshit and surface stuff. Style happens.

Always remember that if editors were so damned smart, they would know how to dress.

At certain times each year, we journalists do almost nothing except apply for the Pulitzers and several dozen other major prizes. During these times you could walk right into most newsrooms and commit a multiple axe murder naked, and it wouldn't get reported in the paper because the reporters and editors would all be too busy filling out prize applications.

If you look at any list of great modern writers such as Ernest Hemingway, William Faulkner, and F. Scott Fitzgerald, you'll notice two things about them: 1. They all had editors. 2. They are all dead. Thus we can draw the scientific conclusion that editors are fatal.

Writers take words seriously-perhaps the last professional class that does-and they struggle to steer their own through the crosswinds of meddling editors and careless typesetters and obtuse and malevolent reviewers into the lap of the ideal reader.

There are just two people entitled to refer to themselves as "we"; one is the editor and the other is the fellow with a tapeworm.

The Denver Post has actually hired an editor to promote pot.

It seems from my unique vantage point as both scientist and editor of JSE that substantial evidence exists of "something going on".

When finally I mustered the courage to tell a novelist friend that I was talking to editors about a biography, her reply was, 'Oh, that's okay. That's not a real book.'

But, in the end, we editors just pass through. We all know that you, the readers, are the real carriers of the flame.

If I can avoid doing freelance work, I prefer to. Not just because it takes me away from drawing comics, but also because it's just annoying having to deal with art editors, and having to read people's articles or books or whatever.

Very few editors worry about heresy - their goals are much too commercial, thank goodness.

I very early caught on that the editor of Cincinnati Post had something specific in mind that he was looking for, and I tried to accommodate him in order to get published. I would turn out rough idea after rough idea, and he would veto eighty percent of them. I pretty much prostituted myself for six months but I couldn't please him, so he sent me packing.

My guess is that the editor [Cincinnati Post] wanted his own Jeff MacNelly (a Pulitzer winner at 24), and I didn't live up to his expectations. My Cincinnati days were pretty Kafkaesque.

Whatever I wrote was heretical. It offended the editors of the women's magazines.

While I had been, I guess, quite brilliant, academically, in my college years, I also had been editor of the paper, and I loved that. And, that was a much more active thing. And I missed it when I was doing graduate work.

I realized that what I was saying was threatening, somehow, to the editors of women's magazines. That it threatened the very world they were trying to paint, what I then called the "feminine mystique."

It would be absurd for me or any other editor to review the authenticity or accuracy of stories that are nominated for prizes.

Being an editor has been a source of great satisfaction, but writing is the thing I truly love.

I think editors are excellent marketers. They know their audience and produce copy to appeal to them - they just don't call it marketing.

I'm sure I cause just as much consternation for editors as any other actor, but it definitely makes me feel more comfortable understanding how and why all the different camera setups exist.

As an editor, you're constantly dealing with the best way to convey an exchange between two people. So when I'm shooting that, I'm just aware in the back of my head what an editor might want. And also, the problems editors run into when trying to edit performances - it helps me head that off at the pass a little.

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.

It's very hard to stand up to the government which is saying that publication will threaten national security. People don't seem to realize that reporters and editors know something about national security and care deeply about it.

Show me a contented newspaper editor and I will show you a bad newspaper.

I've been reading reviews of my stories for twenty-five years, and can't remember a single useful point in any of them, or the slightest good advice. The only reviewer who ever made an impression on me was Skabichevsky, who prophesied that I would die drunk in the bottom of a ditch.

That's what I try to do as a writer and as the editor of HuffPost: cover important stories in an obsessive way that enables them to break through the din of our multimedia universe.

The habit of writing clearly soon comes to the writer who is a severe critic to himself.

An editor is bound to avoid the meshes of the law, which are always infinitely more costly to companies, or things, or institutions, than they are to individuals.

I wasn't a fashion editor. I was the one and only fashion editor.

I love my editor, but that would be the definition of hell to me to live with someone and have them go page by page through my manuscript. That I want to avoid at all costs.

I wrote a query letter to an editor - a friend of a friend. The editor called me an idiot, told me never to contact an editor directly, and then recommended three literary agents he had worked with before. Laurie Fox was one of them, and I've never looked back.

I was in a pharmacy and I saw the warnings on the backs of poisonous substances, and I thought, "Well, that's what I can do." So I wrote a list of ingredients in the book, and warnings that they shouldn't consume those ingredients. The editor and the publisher thought that it was a great way to go in terms of reverse psychology, but it honestly hadn't occurred to me that it was reverse psychology. I just thought that it was sort of an honest assessment making clear that if you were timid or easily disturbed, you could turn away.

I think having a coach or an editor or whatever the novelist's producer is could help. If you finish a chapter and you turn it in to him, and he or she said, "That was pretty good, it might go better." Maybe that's what I'll try to find.

In a broadcast society, there were these gatekeepers, the editors, and they controlled the flows of information. Along came the Internet and it swept them out of the way, and it allowed all of us to connect together, and it was awesome. But that's not actually what's happening right now.

If a good editor will let me tell my story with the right artist, I'm happy.

If you write something and they all tell you it is bad - editors, critics, everybody - think it over and you may become convinced that they are right (though you are not to be ashamed or discouraged for a minute, but keep on writing).

I was the executive editor on a little magazine called Greek Accent, whose only claim to fame is that its art director went on to be the art director of Discover for many years.

I've been a teacher at the college level, in composition mostly, and I've been an editor on magazines.

I learned not to be so bitterly defeated when my fiction took a beating from editors. I learned in advertising to color in the lines and have my work done on time and to make it the very best it could be.

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.

When I was 14, I entered British Vogue's annual talent contest and got a special mention. I went up to London to meet the editors and wrote about it in my high school magazine.