Editors Quotes - Page 23

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.

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

I depend on good editors and a good director.

Being in New York, a lot of people I knew were top-notch copy editors or photo retouchers, so I had a good community around me that knew how to do the specialized stuff.

I still feel needles in my back when I think about all the horrible disasters that would have befallen me if I had permanently moved to San Francisco and rented a big house, joined the company dole, become national-affairs editor for some upstart magazine—that was the plan around 1967. But that would have meant going to work on a regular basis, like nine to five, with an office—I had to pull out.

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.

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.

I'm so used to being separate from the publication process. I turn in the book to the editor and then I'm done.

As long as I'm giving a little hype, I can't resist saying that Elie [Wiesel] has also written a number of pieces for Bible Review, for which I serve as editor.

the unconscious forces that govern accessible memory are the most arbitrary of editors and the absolute masters of our lives.

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 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.

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.

I'm thoroughly convinced that editors don't help authors.

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.

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.

If an editor can only make people angry enough, they will write half his newspaper for him for nothing.

The writing is what gives me the joy, especially editing myself for the page, and getting something ready to show to the editors, and then to have a first draft and get it back and work to fix it, I love reworking, I love editing, love love love revision, revision, revision, revision.

I sometimes talk to people who think I got published because I was an editor, or because I was an agent, and I have to disabuse them of that notion. It wasn't because of my emplacement within the industry. Actually the writing came first, and the publishing came first as well.

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.

My job as a film editor is to construct a dramatic narrative because otherwise it's just a chaotic arrangement of sequences.

I have a wonderful editor who believes in fiction and poetry. She herself is a novelist and poet.

When you are out of favor, so to speak, it's not just the reviewers. It's the editors, the publishers, they don't want you anymore, you're just gone and you've been written out of history as effectively as the old Stalinists would write someone else out, take their photograph out of a book.

The aim of the scholarly editor is not to produce the the easiest text for the reader, but to get as near as he can to the text of the author.

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.