Editors Quotes - Page 27

At the same time that you've got to open yourself up to the fact that experience is going to teach you year after year, decade after decade. I remember I very badly wanted to write a newspaper column when I was only 21 years old, and I went to my editor and told him that, and he said, "You're a really good writer, but you haven't lived long enough to be qualified to live out loud."

I think that being an editor, someone who works with words, is very good training for being a translator because it trains you to be attentive to words in a very specific, very concrete, very literal way.

It’s true: Medium has the best web-based editor I’ve ever seen. And I’ve seen them all.

I was a writer for 'New York' magazine. I had been to business school, but what did I know? Still, everybody from the receptionists on up to the editor would ask me what they should do with their money.

Authors of published papers and editors of scientific journals can, unfortunately, be slow to come to terms with criticism, and it's good that we can use blogs to express specific criticisms of published articles and to use social media to disseminate these criticisms.

It's incorrect to assume you can be a fashion editor because you blog, if you don't have experience to look at fashion in a professional way.

LUMINARY, One who throws light upon a subject; as an editor by not writing about it.

PERFECTION, n. An imaginary state of quality distinguished from the actual by an element known as excellence; an attribute of the critic. The editor of an English magazine having received a letter pointing out the erroneous nature of his views and style, and signed "Perfection," promptly wrote at the foot of the letter: "I don't agree with you," and mailed it to Matthew Arnold.

I want to be a writer. I do not want to spend 40 hours a week handling e-mails, formatting covers, finding editors, etc.

The relationship with the words someone uses is more intimate and integrated than just a quick read and a blurb can ever be. This intimacy - the words on the page being sent back and forth from engaged editor to open author - is unique in my experience.

I think you have to remember that writing is hard; my first editor used to say that to me.

When an editor first explained to me the difference between direct and indirect writing, I just thought it was a stylistic choice.

The writer who can't do his job looks to his editor to do it for him, though he won't dream of sharing his royalties with that editor.

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.

My editor and I remain very disciplined. It's just sometimes when you're making a film, you get into the cutting room and you see a scene that's slowing you down in a certain section, but if you remove that scene then, emotionally or story-wise, another scene a half-hour later won't have the same impact. You just get stuck with it.

Most written work is a conversation between the editor and the writer, that the writer essentially fulfills in public, and the editor provides the stage for that to happen as well as the prompts.

The ideal editor will hold you to the best of yourself in the piece.

Unless you are in the willingness and ease and ecstasy of some kind of moment, you may end up the editor of your thoughts and of your expressions. I find I'm that way on stage.

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 think I'm equally as abusive as the editors normally are for the "Letters and Tomatoes" column, which is the fan mail part of MAD Magazine and an ongoing feature.

I never saw myself as a director. It's certainly a second language but making movies for 40 years, you pick stuff up. However, this style of making movies, this documentary style, is easier for me because I gather a lot of material and with an editor, write it on screen. You try to write based on what you shot.

A book of poems doesn't just come out by chance, an editor has to select it, a publisher has to distribute it or you will never see it.