I was surprised that my wife thought it was a good idea, then again with my agent, another woman, then my editor, another woman – in spite of the fact that all three of them reacted positively I still have this fear.
And that’s another piece of advice I’ll give junior writers; when you get to the point where they take you to lunch, let the editor suggest where to go.
My wife is my in-home editor and reads everything I write.
You know, people always think if you start out as a film editor, you shoot less footage. Actually, just the opposite is true. I tend to grab as much coverage as I can because as a former editor I know how important it is to have those few frames.
Ask your editor or ask your agent to find out what the house’s goals are for your book before it comes out. Get some sense of expectations so you are prepared.
I was a newspaper editor in high school, and I truly thought of journalism as a career. I loved it.
There are times when I’ll send a manuscript to an editor, and I’ll think it is the most likely project I’ve ever sent them. And they might call me the next morning and say they couldn’t tolerate it. That happens so frequently that I’ve given up any expectation of knowing what anybody’s going to like.
If I had a pound for every former editor who hadn’t cut the mustard advising me what to do, I’d be a very rich man.
Five people read my work before its ready for publication, and I solicit opinions from all of them: my wife, my agent, my editor, and my parents.
I’ve immersed myself in reading more and more of American literature, but no editor has asked me to comment on Jonathan Franzen or Jennifer Egan. It is assumed I’m an expert on writers who need a little less suntan lotion at the beach.
I’ve been leading newsrooms for a while now and it’s been an honor serving as Editor in Chief of N.J., but I really think that my best shot at moving the needle in politics is by getting close to it – by reading, reporting, tweeting and writing.
Which editor? I can’t think of one editor I worked with as an editor. The various companies did have editors but we always acted as our own editor, so the question has no answer.
He was the editor of our paper. He created the publishing house in Hebrew. He was – I wouldn’t say the ‘guru’ – but really he was our teacher and a most respected man. I wrote for the paper of the youth movement.
As the editor of ‘Cosmopolitan,’ I talk to hundreds of young women about the sometimes bewilderingly rapid changes taking place in our romantic lives and the role new technology plays in our search for intimacy and commitment.
I really enjoyed the process of ‘Women in Clothes,’ but there’s no way I would have done that again. It felt more like being an editor than a writer, and I longed to write again.
I was sports editor for my high school newspaper, but I think I shied away from journalism.
As a senior editor at Tor Books and the manager of our science fiction and fantasy line, I rarely blog to promote specific projects I’m involved with, for reasons that probably don’t need a lot of explanation.
My first job in the States was as a junior fashion editor at ‘Harper’s Bazaar,’ which I enjoyed, but not for all that long because I was fired by the editor in chief, who told me that I was too ‘European.’
As someone who’s been a filmmaker and an editor, I was wary of being on camera.
The first job I was offered was as an editorial assistant. I think it was the best thing for me, in terms of being a storyteller by nature, to have spent years being an editor because I learned so much from it.
As a writer, you write the book, you give it to your editor, it’s copy edited, it’s published, it’s thrown out there, and then there’s a response.
I remember right after Carter got elected, I was sitting in my apartment in Albany, CA, on a Saturday listening to people call Carter and ask stupid questions while I designed the screen editor.
Ulysses could have done with a good editor. You know people are always putting Ulysses in the top 10 books ever written but I doubt that any of those people were really moved by it.
Fortunately for me, or unfortunately, they made me an editor of the Parish Prison Pelican. I could read and write, and I had a way with words.
If you’re not in the hands of an expert editor, you really can go wrong in a lot of different ways.
Once I became the editor of the school newspaper, I had a key to the school, and I went to the school cafeteria and just took the food they threw away.
If every editor turns you down, maybe you should take a second look at your text, however, just in case.
Peter Stanford is a writer on religious and ethical matters. He was for four years editor of the ‘Catholic Herald.’
I started out working as a script editor and storyliner.
It took a brave editor in the U.S. to sign a contract for Dancing Girls, and without her belief in the book, I’m not sure it would ever have found its way into print.
I thought ‘UnSouled’ would come in at around 400 pages, but it took 650 pages, and even then I felt like I was rushing the conclusion, so I asked my editor and publisher if I could divide it again. So a sequel became a trilogy, and the trilogy became a tetralogy – although we’re not calling it that.
As an undergrad, I was the editor of the Yale humor magazine, and since then, I’ve published humor in the ‘New York Times’ and ‘Atlantic,’ among other places.
I’m extremely grateful for the way my career has panned out. My journey thus far has been satisfying and especially as the Style Editor for The Label Life, curating The Power Dressing Edit, knowing we are catering to the modern Indian women.
When I make my own videos, I am the writer, the editor, the lighting person, everything – that’s why my videos are blurry.
It’s not like I ever sat in my room and said I was going to start a media company and become an editor in chief. It was never my dream. It was something that just happened.
From 1999 through 2001, I was an editor at a now-defunct magazine about the media industry called ‘Brill’s Content’ that eventually merged with a now-defunct website about the media industry called Inside.com.
I first started working in film when I was 17. I was a director’s assistant, an editor.
Of, course it always cheers a news editor when a story has what we describe as ‘legs’ therefore it, erm, runs.
I’m a novelist, editor, short story writer. I also teach, and I freelance sometimes as an arts consultant. Most of my books have been published by Warner Books, now known as Grand Central Books.
I always have trouble with titles for my books. I usually have no title until the editor has to present the book and calls me frantically, ‘Judy, we need a title.’
As an editor, I have to be tactful, of course.
For decades, as literary editor, I have followed the growth of our creative writing in English. In my Solidaridad Bookshop, half of my stock consists of Filipino books written in English and in the native languages.
You do not need to go to journalism school if you want to work in the fashion industry. I think high schools condition you to think this way: If you want to be a fashion editor, go to fashion school. If you want to be a writer, you should study journalism. I think that the best school in life is experience.
I had this vague notion that one day I might be editor of ‘Vogue China.’ It was a bizarre ambition, as I didn’t speak a word of Chinese. There were flaws in my plan, admittedly.
After Ann Godoff, who was editor-in-chief at Random House, left and went to Viking, I got to know Viking and the people there, and liked them very much. I also found a wonderful editor there, Wendy Wolf. It’s a very congenial press.
You have to live and breathe Scotland if you’re ‘Scotsman’ editor.
After leaving college I got a job as a photo editor. Then, looking through my mum’s photo archive inspired me to take it seriously.
I have a huge editor in my head who’s always making me miserable. But sometimes, I try to let my unconscious act out.
I very much wanted to be editor of the ‘New Statesman!’ But I never wanted to be prime minister, except maybe as a little boy.
Of course a magazine is shaped by its editor, and each editor is different.
Doing comedy for film is always a challenge because you are in the hands of the editor after the fact. I am hoping I can do some more soon, I enjoy doing comedy.
I’ve followed Brenda Bowen as she’s moved from Henry Holt to Scholastic to Simon and Schuster to Hyperion and to HarperCollins. I have complete confidence that Brenda always knows the right questions to ask. I’m not sure another editor would be able to do that.
When the war was over and the guys were back to shaving every day, the editor thought the Beetle Bailey strips were hurting their disciplinary efforts to get the guys back to routine.
I think about the question of perspective in reporting all the time, and since I spent 20 years of my career in Washington as both a reporter and an editor I’m keenly aware that a newspaper should not be dominated by stories in which the only voices and perspective come from those in power.
It’s weird: making a movie is like life compacted into three months. You have these very intense relationships with people, and you talk to them every day – your editor, the casting people, music people, your actors – then it ends. It’s like a circus life.
