The role of designers and product makers is to really become much better editors. What kind of functionality is actually needed – and truly delightful – to consumers? Remove all the extraneous stuff.
For commercial books in a genre, readers’ and editors’ expectations may be fairly rigid. Some romance lines, for instance, issue fairly detailed writers’ guidelines explaining exactly what must happen in a book they publish (and what must not).
Forty years ago, we were on the tail of the Front Page era. There was a different point of view. Reporters and editors were more forgiving of public people. They didn’t think they had to stick someone in jail to make a career.
It’s hard selling books in general: companies are merging, editors being laid off, bricks-and-mortar bookstores closing, large chain bookstores squeezing out independents, and online retailers squeezing out chain bookstores.
He thinks that Schiller and St Paul were just two Partisan Review editors.
Of course there are some actors that are better than others and performances that are better than others, but they’re always embedded in the greater film. They are mediated through the work of so many other people: the director directs, the lighter sets the scene, the editors edit, the music gets put to it.
I did a lot of theater, so especially as an on-camera camera actor, there are so many things that aren’t in your toolbox. They’re somebody else’s job. You think about editors and rhythm. Volume isn’t even in your control.
NPR editors and journalists found themselves caught in a game of trying to please a leadership team who did not want to hear stories on the air about conservatives, the poor, or anyone who didn’t fit their profitable design of NPR as the official voice of college-educated, white, liberal-leaning, upper-income America.
The decision to work with Marvel for a while isn’t any sort of denigration of DC. I had a fantastic time there, I was treated extremely well, I have strong positive feelings about all of my editors and the DC universe of characters, and I look forward to hopefully working with them at some point down the road.
Contrary to popular belief, editors and agents are gagging for good books.
The historical legacy of ‘The Best American Poetry’ is they’ve had very few editors who were not white. They’ve had very few instances where they’ve selected poems by non-white poets.
I happen to have a public profile. Ditto newspaper editors. It’s a result of what I do, not an end.
Facebook has become the richest and most powerful publisher in history by replacing editors with algorithms – shattering the public square into millions of personalised news feeds, shifting entire societies away from the open terrain of genuine debate and argument while they make billions from our valued attention.
The natural creativity of the staff morphed ‘The Daily Beast’ very fast into what has become a newsroom. Aggregation lives on the Cheat Sheet, the video player, and in the breaking news slot in the first big box. The rest is all original, generated by Beast writers and editors.
Since September 11 2001, editors in America have faced some excruciating choices, as the attempt to wage a war against a new kind of enemy sometimes strained the boundaries of our laws and values.
Somebody has to pay our editors, writers, journalists, designers, developers, and all the other specialists whose passion and tears go into every chunk of worthwhile web content.
In the early ’70s – a very good time for children’s books and their authors – editors and publishers were willing to take a chance on a new writer. They were willing and able to invest their time in nurturing writers with promise, encouraging them.
Most editors are just worried about their jobs. They’re overwhelmed. They’re underpaid. They do the best they can.
There’s something about the alchemy of the show – the actors, the writers, the directors, the editors – that makes ‘Parenthood’ unique. You get so deeply embedded with these characters because you go through life with them, and that’s our priority.
You always want to go out there with the best book possible, so I listen to what my editors say, and even if they don’t know how to fix it, I always seem to find a way. ‘Trust Your Eyes’ is the best book I’ve written, and I don’t know if I can do any better.
I don’t think anybody reads a book of poetry front to back. Editors and reviewers only. I don’t think anybody else does.
I think peer review is hindering science. In fact, I think it has become a completely corrupt system. It’s corrupt in many ways, in that scientists and academics have handed over to the editors of these journals the ability to make judgment on science and scientists.
Like all editors, I assume, I’m a reactor.
Rupert Murdoch has been around since the dinosaurs. He knows how to get around any independent board – as he did with me, and as he’s done with other editors as well.
My books have been translated into various languages and sold in other countries, but I never have any contact with the foreign publishers and am so disconnected from that process that it seems almost imaginary. With ‘How to Save a Life’, I worked closely with Usborne editors and have been involved in the publicity.
There have been so many photographers and editors who mentored me over the years. At the very beginning, the person who taught me the most was Arthur Elgort. I always loved working with him. We traveled a lot together.
When I was 14, I entered British Vogue’s annual talent contest and got a special mention. I went up to London to meet the editors and wrote about it in my high school magazine.
I’ve been around so long, most editors think I’m dead.
You’re at the mercy of the editors’ hands.
Media is set up to give information to the people – at least that’s what it says. But we all know in the U.S. that media is a capitalistic system, people are getting paid to write things, they have bosses and editors, and they have bosses, and they put pressure on people to write intriguing stories that catch the eye.
I know that many authors say editors don’t edit anymore, but that’s not been true in my experience.
Machines aren’t replacing proofreaders at all. Copy editors, who proofread and much, much more, use spellcheck as a tool but read every word that appears in the paper.
Many people – especially those people who earn livings by convincing editors and bookers that rich and influential strangers consider their thoughts and opinions interesting – have ideas about who should or should not run for president.
I know and have worked alongside some of the designers, developers, and editors at Vox Media; you’d be proud to work with any of them.
When I came out publicly, some photo editors had a field day searching for pictures of me with a limp wrist or some other stereotypical gay signifier – as though, after decades in the public eye, they’d suddenly come across a trove of shots where I looked like a Cher impersonator.
There are some really genuinely talented people that make fan videos. They cut them really well, like, I’m amazed at the quality these editors have.
A whole bunch of agents and editors looked at my stories, and they all said, in effect, ‘You’re a pretty good writer and you should probably get these published; when you grow up and write a novel, get in touch.’
Most of the good people of my generation… had offers to become editors, but the thought of going inside was just absolutely horrifying.
One should fight like the devil the temptation to think well of editors. They are all, without exception – at least some of the time, incompetent or crazy.
I’m very troubled when editors oblige their film critics to read the novel before they see the film. Reading the book right before you see the film will almost certainly ruin the film for you.
And I remember that the editors wanted to have a witness to say that this was really the case, because it was a very sharp picture of the just the face, the head of the fetus inside the womb.
My scripts, they’re pretty serious. I basically just describe stuff. I don’t put too many notes and letters to the editors. But when I wrote ‘KGBLT,’ in parentheses I wrote, ‘Well this is the best thing I’ve ever written. It will all be downhill from here. I’m so sorry for the rest of my career.’
One of the annoyances of working for The Guardian is that, obsessed as the organisation is with its digital and social media presence and its own sense of singular importance, editors would militantly try to edit your tweets.
In my experience, with very few exceptions – I am, as it happens, one of the exceptions – the one thing that most editors don’t want to do is edit. It’s not nearly as conducive to a successful career as having lunch out with important agents or going to meetings where you get noticed.
Writing about corporate America had sapped my energy, disappointed the editors, and unnerved me.
There really are so many lines of work that you can join that don’t have to only be design. And that was one that particularly interested me a lot, because the editors could appreciate all the trends, all the designs and all the work of the designers.
I do a lot of brainstorming with my editors.
There are more women editors than people realise. I think we’re more able to keep our eye on what the film needs. Between men, sometimes it’s a real ego battle, and that’s very bad for the film.
