Quotes of All Topics . Occasions . Authors
It doesn't matter that millions read as long as you share it with somebody. So I don't really think about readers or editors. You especially should never think of editors - especially never think about reviewers.
All writers are crazy. So never mind what the editors and your family and your critique group tells you. Submit your manuscripts and keep submitting until you get an offer. Then you can be crazy, with a paycheck.
If you are doing a peer review of somebody's paper before publication, the editor would not allow you to speculate about the person's motives, about their place in the hierarchy. It's not scientifically relevant.
You can go back and try to generalize, but then you end up saying things that all editors say about everything that ever gets published. Something about voice, about urgency, about actually having a story to tell.
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.
And at that point, I think my experience in covering the subject helped me. I think editors felt comfortable with the idea of me telling this story because I had demonstrated that I know this business pretty well.
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.
You can write the best book you can, and that might still not be enough. Appeal isn't something that most writers can't strive for or identify. It's something even the best agents and editors can't always identify.
I'd forgotten - perhaps preferred to forget - that I'd caved in to the interference of some copy-editor... somebody anonymous whose commitment to finding something wrong would not disgrace an Eastern European clerk.
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.
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.
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
In the long run, the quality of your work is all that matters. That is your only resumé. Be professional. Make sure your editor or publisher can always reach you. Do what's asked of you if your conscience can bear it.
Praise or damn as you please, but do so rather flatly, pragmatically, with cunning attention to annoying or gratifying details. Be yourself. Be unique. Be a good editor. The Universe needs more good editors, God knows.
There have been so many photographers and editors who mentored me over the years. At the very beginning, the person who taught me the most was Arthur Elgort. I always loved working with him. We traveled a lot together.
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.
Samuel Marshak was one of the founders of modern Russian children's literature. Soviet children used to know his poems by heart, but only since glasnost have American editors shown any interest in issuing his poems here.
The Lampoon started in 1970, and I began writing freelance for them around the end of 1971, and then all through '72. They hired me in '73, and I left early in '81. I did everything from low puns to being editor-in-chief.
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.
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.
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 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.
When I first quit my day job, I was terrified. I called my editors and said I'm trying to make a go of this, and they threw every contract at me they could. And for two years, I had a book or an anthology out every month.
I do a lot of brainstorming with my editors. Sometimes it just comes out in the writing. I'll get an idea as I'm writing the chapter. I try to go for maximum surprises in PLL, stuff you don't see coming. It's a lot of fun!
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.
In the newspaper business, I was in the last generation before the arrival of the personnel manager. You were hired by editors - and editors who would take a chance on what they perceived to be talent and not hire a resume.
Sometimes, I repeat myself, and that was a second elimination [of Barack Obama]. I worked with a team, including a great editor who, as the project came together, suggested other additions and eliminations. It was a process.
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.
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.
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.
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.
The way I work is that I never let people do an assembly. I don't like it because it shapes the film in a way that I can't really control. To me, editing is making the film and it's a huge process and editors are under-rated.
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.
Forty years ago, we were on the tail of the Front Page era. There was a different point of view. Reporters and editors were more forgiving of public people. They didn't think they had to stick someone in jail to make a career.
I broke into comics by working as a press reporter for the industry, for a trade press in comics, and reporting on events and reporting on books and so forth, and I got to know some of the editors at DC Comics in the mid-'80s.
Had I represented twenty thousand voters in Michigan, that political editor would not have known nor cared whether I was the oldest or the youngest daughter of Methuselah, or whether my bonnet came from the Ark or from Worth's.
Authors worry. We worry about writing. Worry about our editors, our agents, our reviews, and our readers. We worry about everything, including all forms of social media including blogs, Facebook, Twitter, and personal websites.
Great pressure was put on the editor, David Schneiderman, to not run the strip [of Jules Feiffer]. It was offensive. It was racist. And nobody apparently read the strip and saw what it was about. And I wrote a column about that.
I love the auditioning process. I love working with the technical guys. I absolutely love the editing room. That was completely fascinating to me, working with an editor in crafting the thing into something you had in your head.
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.
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.
Don't market yourself. Editors and readers don't know what they want until they see it. Scratch what itches. Write what you need to write, feed the hunger for meaning in your life. Play at the serious questions of life and death.
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 come out of journalism, and then book writing. There, it's just you and your editor and maybe a copy desk, looking over your editor's shoulder, and that's the story. It's right there. I can show it to you because it's on paper.
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.
Language doesn't belong to grammarians, linguists, wordsmiths, writers, or editors. It belongs to the people who use it. It goes where people want it to go, and, like a balky mule, you can't make it go where it doesn't want to go.
As my editor had no desire to frighten readers with the Romanian pages, he had them translated and published the whole thing in French in 1984. It was only years later, in Romania, that I was able to publish the book as I wrote it.
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.
Embarrassed journalists ask me embarrassing questions, and they get embarrassing answers, and then hand out embarrassing stories to the embarrassing editors, who put them to the front pages of newspapers. When is this going to end?