Top 131 Editors Quotes

I have great editors, and I always have. Somehow, great editors ask the right questions or pose things to you that get you to write better. It’s a dance between you, your characters, and your editor.

Liberman said to me, ‘I must cut back on the work you do for Vogue. The editors don’t like it. They say the photographs burn on the page . After some years, I began to understand that what they wanted of me was simply a nice, sweet, clean-looking image of a lovely young woman.

When I first started with ‘Twilight,’ I didn’t have any experience. I didn’t know what I was doing. So I was pretty intimidated by the editors and the publishers, and I felt like I was a kid in school with the principal telling me what to do! It was hard for me.

I think on civilian casualties they could do more. It’s actually something I’ve discussed with the editors involved. They’re aware of it, and I’m hopeful that there will be more reporting on that.

Don’t let anyone discourage you from writing. If you become a professional writer, there are plenty of editors, reviewers, critics, and book buyers to do that.

There are two kinds of editors, those who correct your copy and those who say it’s wonderful.

If you’re interested in a ‘Teen Vogue’ internship, take note: it’s not all fun and games! Working at a magazine requires a ton of energy and endurance from its interns and editors alike.

I represent a body image that wasn’t accepted in high fashion before, and I’m very lucky to be supported by the designers, stylists, and editors that I am: ones that know this is fashion; this is art. It can never stay the same. It’s 2015.

The Central Propaganda Department is the highest-ranking censorship agency in China. And it has control over everything from the appointment of newspaper editors to university professors to the way that films are cut and distributed.

Veteran print editors and reporters at places like the ‘Times’ and ‘The New Yorker’ manage to feed and clothe their families without costing their companies a million bucks a month, and they produce a great deal more valuable reporting and analysis than the network news stars do.

My first novel was turned down by about twenty publishers over a period of two and a half years. Because my name is Irish and would not be familiar to English editors, one of them said: ‘If she writes anything else, do let us know.’ Slowly, very slowly, the books began to sell and be noticed.

When I decided to launch my first knitwear line, it was because I saw a void in the basics category. The editors were always looking for cool, fashion-forward tees and sweaters. So that’s where I started.

I’m a lot more productive in an actual office. I love being around our other editors, and going there every day alleviates some of the guilt that I think many self-employed people feel when you know you could always be working from your laptop at home. I feel so relaxed there, while completely engaged and inspired.

Digg is like your newspaper, but rather than a handful of editors determining what’s on the front page, the masses do.

It takes a lot of time and good editors, which luckily we have, to make me look like Jamie Tartt.

Teaching regularly has made me an even more adept reader, I think. The kind of teaching I do is more like editing than anything else. The kind of editing book editors used to do before lunch. The kind of editing I used to do as a radio documentary maker.

Three-quarters of our sites – Kotaku, Gawker, Jezebel, Deadspin, Gizmodo, Lifehacker – are led by editors who built their careers within Gawker Media. That’s the career path.

As an actor, you can go in, and you give your best performance, but if you hand that performance to ten different directors and ten different editors, you get ten different movies.

A film actor is just a victim of directors and editors.

In September 2005, I was three things: the media blogger for ‘FishbowlNY,’ a maniacal Daily Show fan, and the only person to smuggle a tape recorder and camera into a big Magazine Publishers of America event featuring Jon Stewart interviewing five hotshot magazine editors in an unbelievable bloodbath.

So I went out and bought myself a copy of the Writer and Artist Yearbook, bought lots of magazines and got on the phone and talked to editors about ideas for stories. Pretty soon I found myself hired to do interviews and articles and went off and did them.

Publishers, editors, agents all have one thing in common, aside from their love of cocktail parties. It’s an incredible taste and an ability to find and nurture authors.

And in Hollywood, you know, everyone is an expert. Most of them are expert editors. They can’t direct, they can’t write, they can’t act, but, by God, they all think they can edit.

Honestly, I expected to get a cold reception because of my subject matter. But when editors took a look at the story I had to tell, and saw that this was not a parochial story at all, they really warmed to it.

The requests for blurbs seem to come in waves. I’m not sure what precipitates them. I think it must be excruciating for editors to draft those elaborate letters asking for a blurb, and I know it’s torturous for us writers to ask directly. But publishers encourage us to. Rock and a hard place.

When I talk to friends and editors about possible projects, especially about projects that might come with a significant cash advance, they usually suggest a biography. Sometimes I’m tempted, but the prospect of spending years researching and writing about someone else’s life offends my vanity.

I depend on good editors and a good director.

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.

Only kings, presidents, editors, and people with tapeworms have the right to use the editorial ‘we.’

I’m sitting there for hours editing the vids myself. But I have a PR company and a management company. I use some editors for some of the cooking videos because they can be so long.

There are plenty of bad editors who try to impose their own vision on a book.

When I write, I tend to be quite cut off from the world. At that point of time, I’m not thinking about editors, publishers or readers. I write the story the way it comes to me.

‘The Paris Review’s mandate has been the same for fifty years. First and foremost, this magazine is for writers; the editors’ task is to support and celebrate them, especially at the beginning of their careers, but also as they move forward, venturing stories that are creative, risky, new.

Honestly, I’ve never had anybody with ‘Teen Mom’ ever be anything but great to me. Except the editors – they suck. Everybody from the crew, I love them, they’re like family to me… I’ve never had a problem with any of them. Except the editors.

Nothing’s harder than writing. There’s no comparison. With directing, you can bounce a lot of ideas around. There’s tremendous support – you’ve got editors and sound mixers. With writing, it’s all you, and it’s just crippling when people tear up your pages.

So, this is my plea to all Western editors and producers: Display the Muhammad cartoon daily, until the Islamists become accustomed to the fact that we turn sacred cows into hamburger.

Editors have grown timid… a brave advance is almost inevitably followed by quick back-tracking, generally by dilution and debasement of the original intention.

I’ve had editors over the years who couldn’t find a clue if it was stapled to their butt.

Alan Rusbridger is, to many, among the most admired newspaper editors of our time.

Amazon is such a big player in publishing, but a lot of authors feel this connection to their publishing house and their editors who helped them get their books out there, so their loyalties tend to go that way.

Most writers adore their editors, and I’m no exception.

While editors and newspaper owners currently fret over shrinking readership and lost profits, they do the one thing that insures cutting their own throats; they keep reducing space for the one feature that attracts new young readers in the first place; the comic strips.

The error that we tend to make is that we think that women’s magazines are what editors want and what their readers want – and thus are social indicators – when, in fact, they are what advertisers want. They’re just advertising indicators.

Newspapers and their editors have to become as accountable as the rest of us – they are not ‘a special case,’ and they have only themselves to blame for having lost the argument for ‘exceptionalism’ – and with it the right to ‘self-regulation.’

Since fantasy isn’t about technology, the accelleration has no impact at all. But it’s changed the lives of fantasy writers and editors. I get to live in England and work for a New York publisher!

I met Ulrika Jonsson on December 8, 2001, at some party hosted by the Daily Express, or maybe it was the Daily Star. The FA wanted me to travel around to various newspapers to be courteous and meet the editors. I visited the News Of The World too, and met a woman with big, red hair. I didn’t memorise her name.