Quotes of All Topics . Occasions . Authors
One of the great joys of launching your idea on the web is that it's a meritocracy. The good stuff will rise to the top and find an audience, and you don't have to impress one idiosyncratic commissioning editor.
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.
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 thought a book on miracles might be a great idea, but just because it's a great idea doesn't mean I'm supposed to do it. But my editor persisted, and eventually I thought, 'He's right. I should write this book.'
I like every individual editor, designer, marketing and publicity person I deal with, but I don't like what publishers, corporately, are doing to the ecology of the book world. It's damaging, and it should change.
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.
It got to the point where most of my time went toward writing novels. I would still occasionally write short stories, but only when I was commissioned by an editor to write for a themed anthology or special issue.
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.
I sent The World Well Lost to one editor who rejected it on sight, and then wrote a letter to every other editor in the field warning them against the story, and urging them to reject it on sight without reading it.
For decades, as literary editor, I have followed the growth of our creative writing in English. In my Solidaridad Bookshop, half of my stock consists of Filipino books written in English and in the native languages.
I bristle at the implication that only with the help of a Big Six editor does a novel lose its self-indulgent aspects. Before the advent of self-publishing, there were plenty of self-indulgent novels on the shelves.
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.
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.
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 market for short stories is hard to break into, but a magazine editor isn't always looking for big names with which to sell his magazine - they're more willing to try stories by newcomers, if those tales are good.
I was only 24 years old when a lady called Sabina Sehgal Saikia - the then 'Delhi Times' editor - asked me to host the 'Times Food Guide Awards,' so it was with The 'Times of India' that my career began in this field.
Melissa Biggs Bradley spent a decade as Travel Editor of 'Town & Country,' and later served as the founding editor of 'Town & Country Travel.' She then launched Indagare Souk, an online marketplace of global treasures.
Back in the late 1980s I was programme editor of Channel Four's Business Daily. Day after day we broadcast the latest news, views and analysis for the City in a period when its visibility was as high as it has ever been.
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.
One of my first jobs was as a recipe tester for a PR agency. One week, the editor of 'Housewife' magazine called my boss and asked me to write a column - the cookery editor had gone away on a press trip. I was terrified.
After I work with my editor to get the manuscript in good shape, I sketch and lay out a whole book loosely, usually in black and white. You learn things about your text when you have to think about pacing and page-turns.
I studied philosophy, religious studies, and English. My training was writing four full-length novels and hiring an editor to tear them apart. I had enough money to do that, and then rewriting and rewriting and rewriting.
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 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.
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.
I want to try and be as involved in the art of filmmaking as possible. I feel that the only way to really do that is to take on as many roles as possible, whether it be as an actor, an editor, a director, a cinematographer.
When I was in college, I was the editor of the literary magazine and insisted neither the editors nor the writers be specifically identified-only our student numbers appeared on the title page. I love that idea and still do.
'The Danish Girl' was published in 2000. Then it, too, would disappear, as most books do. It fell out of print almost everywhere. I wrote other books and, as an editor, worked on dozens more. Yet always, Lili stayed with me.
It's a different world because of the Internet and bloggers. Now, every editor is concerned about speed because every minute counts. Speed is more important than content. Whoever gets a review out first becomes the authority.
I rewrite my books many times before submitting them, and after my editor takes a look I wind up rewriting some more! It's a good thing I learned at an early age to keep on trying. Stick to it, and eventually you'll get there.
As the editor of 'Cosmopolitan,' I talk to hundreds of young women about the sometimes bewilderingly rapid changes taking place in our romantic lives and the role new technology plays in our search for intimacy and commitment.
I couldn't follow the events of September 11 because I was proofreading a novel I'd just completed - on Islam and its quarrel with the West - that I'd promised, six months earlier, to deliver to my editor on September 12, 2001.
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.
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.
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.
I think one of the best jobs in the universe must be being the editor of 'The New Yorker', but there are a number of magazines that I'd be excited to be the editor of. They would be 'Wired', 'The New Yorker' and probably, 'Vogue'.
I am thrilled to become international 'Vogue' editor at Conde Nast International, which has a real commitment to journalistic excellence, and to have the opportunity to write for a wider global audience through the 'Vogue' websites.
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.
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.
After Ann Godoff, who was editor-in-chief at Random House, left and went to Viking, I got to know Viking and the people there, and liked them very much. I also found a wonderful editor there, Wendy Wolf. It's a very congenial press.
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.
For 10 years, I'd been working as a freelance writer and editor, making money but not a living. It was a good arrangement family-wise, allowing me to stay home with our daughter, but not so great financially or, sometimes, ego-wise.
I got into journalism, actually, when I started my graduate program at Portland State and ended up becoming the multimedia editor of the student paper and covered very uninteresting stories on campus: this culture event, dance night.
Usually, an author writes a manuscript that is handed in to the editor. The editor will then work with an art director to find just the right illustrator for the job, and off they go. Many times, the illustrator and author never meet.
I'm my own boss, my own editor, my own shooter, my own writer, everything. This is all stuff I learned through trial and error... failing at a lot of things has taught me how to succeed at them eventually... you roll with the punches.
I started working for the 'NY Observer' when I was 33. After I had been writing for them for about a year and a half the editor said, 'Your stories are the most talked about stories in the 'Observer'; you should have your own column.'
I've immersed myself in reading more and more of American literature, but no editor has asked me to comment on Jonathan Franzen or Jennifer Egan. It is assumed I'm an expert on writers who need a little less suntan lotion at the beach.
Marty Baron, 'The Post's executive editor, stopped me in the elevator lobby late one debate night and suggested we look into the Trump Foundation specifically. I also became interested in researching Trump's broader history of charity.
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.
Asking myself, 'Is this any good?' is pointless. It just slows down my writing, and I can't tell anyway. It's always the paragraphs I loved most, the ones I tenderly polished and re-read with pride, that my editor will suggest cutting.