Editors Quotes
The best sayings about Editors that you can share on Instagram, Pinterest, Facebook and other social networks!
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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.
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The information highway is being sold to us as delivering information, but what it's really delivering is data... Unlike data, information has utility, timeliness, accuracy, a pedigree... Editors serve as barometers of quality, and most of an editor's time is spent saying no.
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Using film was so much easier than the digital technology of today. But digital is still at the beginning of what it can be and they'll be fixing all those problems. It's just too complicated - negatives, tinting, flashing - it's a whole new system that takes a lot of time. Of course, it's not as physical. Even the editing. You used to feed a piece of celluloid into an editor. [Digital] is not expensive and that is an advantage, but I must say that I don't love it.
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I am opposed to writing about the private lives of living authors and psychoanalyzing them while they are alive. Criticism is getting all mixed up with a combination of the Junior FBI-men, discards from Freud and Jung and a sort of Columnist peep-hole and missing laundry list school. ... Every young English professor sees gold in them dirty sheets now. Imagine what they can do with the soiled sheets of four legal beds by the same writer and you can see why their tongues are slavering.
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I've hung around in absolute exhaustion and starvation waiting for an idea to hit, which might have been months. I've talked things over with editors, found out what they wanted, and when they wanted it delivered.
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I try to help people become the best possible editors of their own work, to help them become conscious of the things they do well, of the things they need to look at again, of the wells of material they have not even begun to dip their buckets into.
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And then my editor really likes that because he's left alone to do what...to create those things instead of me breathing over his shoulder and I like it because I don't have to sit in the editing room all day. I get to watch just dailies.
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I worked as an assistant editor, actually, for a few years. That was right when I was just starting to get out at night and do a lot of stand-up, improv, and sketch work in New York. It really is invaluable. I think it pounded into me an awareness of what an editor wants and needs, in terms of clarity of a moment, where and when to start and stop a line.
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Reporters have a different point of view and a different job. Consequently, to the extent that you can help them turn in an interesting story that their editor is going to like and that's going to further their careers, they're going to give you more ink and cover you.
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We are watching people who've been educated in the public school system and in colleges for the last 25 or 30 years become adults. They're getting jobs as TV commentators and journalists and writers and editors and producers in the media. And we're simply seeing the product of what they've been taught. And they so hate what they've been told is America's history and past that they want everybody to know they disagree with it and they've got nothing to do with it, and they had nothing to do with it, and don't blame them.
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One of my first jobs was at the Boston Globe. I worked in the sports department six months a year. When I was ready to graduate, the sports editor gave me a job as a schoolboy sports writer.
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Ultimately, you just have to do what feels right for the film. It really helps when you have great collaborators like my editor, Eduardo Serrano, who kept telling me various scenes should be longer.
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Any magazine editor will tell you, Colin Farrell still sells better than Colin Powell.
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First, the three of us holed up in winter in a cabin and took the 500 hours down to twelve hours. Then we found an editor, Lambis Haralambidis. He took that twelve hours and brought it to five. Then we get together and started taking the ax and chopping off different parts of our film.
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If you are doing a peer review of somebody's paper before publication, the editor would not allow you to speculate about the person's motives, about their place in the hierarchy. It's not scientifically relevant.
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The best comics editors have the smallest egos. The worst ones feel like they have to justify their salaries by making changes just so they can leave their fingerprints. Every creative medium has those guys, and they're all loathsome.
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Photojournalist? With a few exceptions, those of us working as photojournalists might now more appropriately call ourselves illustrators. For, unlike real reporters, whose job it is to document what's going down, most of us go out in the world expecting to give form to the magazine, or to newspaper editor's ideas, using what's become over the years a pretty standardized visual language. So we search for what is instantly recognizable, supportive of the text, easiest to digest, or most marketable - more mundane realities be damned.
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I'm so used to being separate from the publication process. I turn in the book to the editor and then I'm done.
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I just so desperately wanted to be published in New Yorker, and I'd so desperately try to get something in it. But I'd always get nice letters back telling me that Mr. Shawn [William Shawn, the New Yorker's editor from 1952 to 1987] just didn't like this or didn't like that about what I submitted.
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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.
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As any editor will tell you, startling newsroom revelations are generally met with queries about where the information came from and how the reporter got it. Seriously startling revelations are followed by the vetting of libel lawyers.
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You can go back and try to generalize, but then you end up saying things that all editors say about everything that ever gets published. Something about voice, about urgency, about actually having a story to tell.
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Hours is an understatement. I honestly don't know how the director and editor decide each week what actually makes it on the air. There's of course director and cast commentary on each episode on the DVD. We had a blast recording that.
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I grew up around fashion - my mom was an editor for Vogue. Compared to the music industry, though, I'd say [fashion] is a little bit more disorganized. But it's exciting for me because, when you're a performer, there is a fashion element.
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Book writing is a little different because, in my case, my editor is a year younger than me and basically has the same sensibility as me.
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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.
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Don't market yourself. Editors and readers don't know what they want until they see it. Scratch what itches. Write what you need to write, feed the hunger for meaning in your life. Play at the serious questions of life and death.
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Between you and me, I think that may be one of the things that will help with the collaboration, because there are things Eric thinks I'm moving too quickly on, and there are things I think he's dragging out. When it gets to the editor they can arbitrate.
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The writing is what gives me the joy, especially editing myself for the page, and getting something ready to show to the editors, and then to have a first draft and get it back and work to fix it, I love reworking, I love editing, love love love revision, revision, revision, revision.
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There were creative-writin g teachers long before there were creative-writin g courses, and they were called and continue to be called editors.
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