Editors Quotes - Page 24

I was just reviewed by Robert Gottlieb, who was my editor at 'The New Yorker,' and he sort of wondered at the fact that I still need to exorcise my parents at my age. I think he makes a basic mistake in thinking that exorcism can ever be total. The exorcism of your parents will still be occurring on your own deathbed.

In a print interview, as you may or may not know, they [editors] can do whatever they want. And they do. This is why most people are more hesitant to do print, because they can change it, and they do change it. They even change things that are in quotation marks, which is a pet peeve of mine. I've said to numerous reporters, "Would you read me back my direct quotes?" And they always say no. They always say that's against the policy.

The reviewer always has hold of the wrong horror.

The age of celebrity editors and monstrous staffing are over.

Media reporters have pointed out that the paragraphs in my Time column this week bear close similarities to paragraphs in Jill Lepore's essay in the April 22nd issue of The New Yorker. They are right. I made a terrible mistake. It is a serious lapse and one that is entirely my fault. I apologize unreservedly to her, to my editors at Time, and to my readers.

I dare say you will try to make me believe that Editors are human. Now I deny that, for I myself have, in past days, had evidence to the contrary.

Although being economics editor sounds impressive, it does not mean I actually edit anything. It mainly reflects two decades of title-inflation at the BBC, which has given ever more status to senior reporters, presumably because it is cheaper to do that than to offer higher pay.

There's this kind of incredibly mistaken idea that because it's so much cheaper to roll the camera than it used to be and it's so much easier to accumulate a ton of footage, that then you can just go shoot a ton of footage and the editor will make sense out of it. But if you don't have something deliberate made, you're not gonna save it in the editing room.

In the publishing world, most editors are probably women. So I don't see the publishing world as a male-dominated one, especially within fiction.

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.

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

Our editor came to work today in a vibrant pink shirt. Vibrant. Several members of staff have had to go home sick.

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.

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

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.

In fact, Lig never formally resigned his editorship—he merely left his office late one morning, and has never returned since. Though well over a century has now passed, many members of the Guide staff still retain the romantic notion that he has simply popped out for a sandwich and will yet return to put in a solid afternoon's work. Strictly speaking, all editors since Lig Lury Jr., have therefore been designated acting editors, and Lig's desk is still preserved the way he left it, with the addition of a small sign that says LIG LURY, JR., EDITOR, MISSING, PRESUMED FED.

I think it's especially important for an editor to say what he's enjoying. For a novelist to be told, midstream, what he's doing right can actually influence the unwritten parts of a novel in a positive way - praise helps a writer know what's good about what he's written, what's interesting and exciting, and what to work for in writing the conclusion.

I'd been assured, at age 21 or so, by a well-known editor who saw the first part of The Secret History in what was basically its final form, that it would never be published because "no woman has ever written a successful novel from a male point of view."

When I started graduate school we did this publishing class where we learned about submitting and read interviews with editors from different magazines. A lot of them said they got so many submissions that unless the first page stuck out or the first paragraph or even the first sentence they'll probably send it back. So part of my idea was that if I have a really good first sentence maybe they'll read on a bit further. At least half, maybe more of the stories in Knockemstiff started with the first sentence; I got it down then went from there.

By and large, reporters and editors are devoutly secular and deeply distrustful of those who act on faith.

When you are acting in a film, you have no idea what scene the editor is going to choose. For instance, after you have directed, you feel more comfortable delivering a performance. Because you know the real performance is put together in the editing room.

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 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.

There's never any humongous next draft. I know a writer who every time he finished a novel - you would know his name very well - but his editor would come and live with him for a month. And they would go through the manuscript together.