Editor Quotes
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I've never had to work out of the arts. I've always either been a writer or an editor, or something where I've made my living from doing what I love. You can't get any better than that.
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The editor sat in his sanctum, his countenance furrowed with care, His mind at the bottom of business, his feet at the top of a chair, His chair-arm an elbow supporting, his right hand upholding his head, His eyes on his dusty old table, with different documents spread.
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If I like a thing, then I know that millions will like it. My mind and my taste are so common that I’m the best editor.
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The author with the greatest influence on me is my friend Stephen Harrigan, who critiques everything I write before I even bother to show it to my agent or editor. He's a truly great writer - author of Gates of the Alamo and other books you might know of, and his instincts about what's working in a story, and what's not, are just about perfect. My books would be very different without his influence.
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An editor is bound to avoid the meshes of the law, which are always infinitely more costly to companies, or things, or institutions, than they are to individuals.
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If you had asked me growing up what a stylist does or what a magazine editor does, I would have had no clue - how do you research something like that when you are a first-born child of an immigrant who only grew up knowing doctor, engineer, and lawyer as careers?
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My only claim to fame, if I have one, is that I'm an editor.
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In a world where everyone is a publisher, no one is an editor and that is the danger that we face today.
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Soames, for example, who suddenly broke away after twenty years’ teaching and went off to be jokes editor to a firm of matchbox manufacturers.
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When I'm my own editor, there's very little difference between the first draft and the final. I write what feels right to begin with. I rarely make any major changes.
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There hadn't been one done since the late 70s. I was living in Brooklyn, had no connection to Roger Corman, to no one in this movie. I didn't go to film school. I'm like the person who should have never made this film. But I just decided to put one foot in front of the other. I was writing film articles for magazines at the time. I convinced an editor from one of the magazines that I was working for to give me a shot to do a piece on Roger. This was an excuse to go meet him.
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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.
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I just thought it was so fitting, because my husband was an editor and loved books and because his father's weaponry collection is there as well.
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I always warn aspiring reporters to observe three basic rules: 1. Never trust an editor. 2. Never trust an editor. 3. Never trust an editor.
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It seems from my unique vantage point as both scientist and editor of JSE that substantial evidence exists of "something going on".
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About a year after (my stories began being published), magazine editor George Scithers, suggested to me that since I was so new at being published, I must be very close to what I had to learn to move from fooling around with writing to actually producing professional stories. There are a lot of aspiring writers out there who would like to know just that. Write that book.SFWW-I is that book. It's the book I was looking for when I first started writing fiction.
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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.
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Dullness is the only crime for which an editor ought to be hung.
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Our editor came to work today in a vibrant pink shirt. Vibrant. Several members of staff have had to go home sick.
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I like being an editor, and I know how to make a magazine.
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Being an editor doesn't make you a better writer - or vice versa. The worst thing any editor can do is be in competition with his writer.
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I don’t want to be an editor! I don’t want to direct; I’d be a horrible director. I don’t want to write - I have a “story by” credit on one film I did. And I don’t want to edit at all.
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One reads the papers as one wants to with a bandage over one's eyes without trying to understand the facts, listening to the soothing words of the editor as to the words of one s mistress.
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The beauty with comics - and also the risk - is it is a far smaller number of voices. It's the writer and the artist and to a lesser extent the editor, who typically is the silent partner, if you've got a good enough team. Whatever you put out is the author's intent. You have to be able to defend that, of course. You have no one to hide behind, or no one to blame but yourselves, which I find refreshing because I've found in film too many times I've been blamed for other people's decisions.
