Marty Baron, ‘The Post’s executive editor, stopped me in the elevator lobby late one debate night and suggested we look into the Trump Foundation specifically. I also became interested in researching Trump’s broader history of charity.
My father was the editor of an agricultural magazine called ‘The Southern Planter.’ He didn’t think of himself as a writer. He was a scientist, an agronomist, but I thought of him as a writer because I’d seen him working at his desk. I just assumed that I was going to do that, that I was going to be a writer.
On some level, you could say you wouldn’t have ‘In Style Magazine’ at all had Anna Wintour not decided to put celebrities on the cover of ‘Vogue’ from her earliest years as Editor in Chief.
Just being able to get paid to do something you love is a wonderful thing. That said, a writer’s daily routine, unless you’re Dominick Dunne, isn’t exactly glamorous. Much of it amounts to drudgery, staring at a computer screen all day in a room by yourself, juggling nouns and verbs to make a demanding editor happy.
I think it’s important for the public to know, great reporting starts with a publisher who has guts and an editor who has guts.
When I was in my mid-twenties, I was a copy editor at Doubleday, and for a brief period, it was my job to help shepherd Pat Conroy’s ‘Beach Music’ into the world.
Screenwriting is a much more collaborative effort. When you write a novel, it’s just you, with input from your editor.
When my editor sent me the first two images of Joker’s daughter, I was struck by how confident she looked despite her boney appearance and horribly scarred face. So I starting thinking, how did Duela gain such confidence in a world that prizes beauty?
My husband is an editor, and in fact he was the first person who hired me as an assistant editor. Then we fell in love and the rest was history.
Bob Harras’ personal and creative integrity is respected and renowned throughout the comic book industry. As an editor, he provides invaluable insight into storytelling and character.
I’ve been using the same editor, thankfully, she’s been sticking with me, but I’ve been doing it full-on guerilla style… I haven’t gotten any public sponsor or anything, because I don’t want to seem like I’m trying to sell any particular thing.
I’m no editor, no artisan, no expert. And certainly no arbiter of what you should buy, wear, or eat.
When I write a novel, every word is mine. I welcome suggestions from my editor, but in the end, I make all the final decisions.
I was a fashion editor for years in London before I came to ‘Vogue,’ and I spent my life arranging the folds of a ball gown skirt for a picture and pinning fabric and using all those stylist tricks. And you don’t have to do that now because they can do it in Photoshop.
I am a writer and editor with a passion for true storytelling. To me, science matters, research matters and knowledge matters, whatever the field.
Books are really fun because your ‘voice’ is pretty undiluted. There is a very direct connection between yourself and your audience. You will have an editor, but their job is to help you clarify or improve your voice, not change it.
My daughter writes and is the editor of her school magazine.
What had brought me to New York in the autumn of 1972 was a letter of recommendation written by Norman Mailer, the author of ‘The Naked and the Dead’ and American literature’s leading heavyweight contender, to Dan Wolf, the delphic editor of ‘The Village Voice.’
I might have missed my calling as an editor. In the spring, the sight of my empty garden beds gives me the horticultural equivalent of writers’ block: So much space! So many plants to choose among, and yet none of them seem quite right!
After writing each novel, I would spend days poring over suggestions from my editor.
My aspiration was always to be a fashion editor.
I didn’t understand in the beginning that the editor didn’t want me to know the author. I’d make an effort to meet the author, but it would end up being a disaster because then I had the author telling me what I should be doing.
I’m my own boss, my own editor, my own shooter, my own writer, everything. This is all stuff I learned through trial and error… failing at a lot of things has taught me how to succeed at them eventually… you roll with the punches.
I was the Playmate editor for ‘Playboy’ for two years. I produced two years’ worth of centerfolds. I did everything on that, from picking the girls to designing the sets to picking the wardrobe, coming up with themes, assigning the photographer, down to editing the photos and approving the retouching.
I enjoyed reading and learning at school, and at university I enjoyed extending my reading and learning. Once I left Cambridge, I went to Yale as a fellow. I spent two years there. After that, George Gale made me literary editor of ‘The Spectator.’
In 1986, I returned to London as editor in chief of ‘British Vogue.’ Although I still thought of myself as totally English, to my surprise, everyone here thought I was some sort of American control freak.
It’s all about who’s where on the food chain. When I’m the story editor, I expect my writers to follow my vision. When I’m working for another editor, I’m obliged to follow their vision.
I was a newspaper editor in the Army, and I know something about the Army PR culture.
Writers have to put up with this editor thing; it is ageless and eternal and wrong.
I am a hopeless pantser, so I don’t do much outlining. A thought will occur to me, and I’ll just throw it into the story. I tell myself I’ll worry about untangling it later. I’m glad no one sees my first drafts except for my poor editor and agent.
I didn’t even know what a beauty editor was. It sounds like a fictional job if you think about it. You get to test lipstick and perfume and nail polish legitimately and call it work.
About 90 percent of the pieces in my home are vintage, and I’m a ruthless editor. I only live with things that I love. There is not one thing in my home that doesn’t have meaning to me.
I was born in Washington, D.C., where my father was working for the Federal Trade Commission, and my mom was editor for the National Council of Catholic Women, but my parents were simply awaiting my birth before moving back to their roots in Rhode Island to raise their family.
I lived through a classic publishing story. My editor was fired a month before the book came out. The editor who took it over already had a full plate. It was never advertised. We didn’t get reviewed in any major outlets.
I started to write a new editor not too long ago and had it about half done after two days.
I was working for Time-Life Books from 1962 to 1970, as a staff writer, and after that, I was a journalist. Eventually, I became an editor at ‘The Saturday Review’ and ‘Horizon.’
After university, I got a job sub-editing and for years I was a literary editor.
I couldn’t follow the events of September 11 because I was proofreading a novel I’d just completed – on Islam and its quarrel with the West – that I’d promised, six months earlier, to deliver to my editor on September 12, 2001.
