Editor Quotes

The market for short stories is hard to break into, but a magazine editor isn't always looking for big names with which to sell his magazine - they're more willing to try stories by newcomers, if those tales are good.

As a painter you're responsible yourself, 100 percent. In film, you have the editor, the director, the other actors. It has the advantage of not being solitary.

Someone who does an act. In a democratic society, you're supposed to be an activist; that is, you participate. It could be a letter written to an editor.

Assange is not a 'journalist' any more than the 'editor' of al-Qaeda's new English-language magazine 'Inspire' is a 'journalist.' He is an anti-American operative with blood on his hands.

In 1972 I married again, to Elisabeth Case; she continues to be wife, companion, critic and editor: a partner in the projects and programs that we undertake.

Dealing with poetry is a daunting task, simply because the reason one does it as an editor at all is because one is constantly coming to terms with one's own understanding of how to understand the world.

I got that experience through dating dozens of men for six years after college, getting an entry level magazine job at 21, working in the fiction department at Good Housekeeping and then working as a fashion editor there as well as writing many articles for the magazine.

A very good editor is almost a collaborator.

Not too many people know who the editor is.

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 sent The World Well Lost to one editor who rejected it on sight, and then wrote a letter to every other editor in the field warning them against the story, and urging them to reject it on sight without reading it.

I started to write a new editor not too long ago and had it about half done after two days.

I wanted to be an editor or a journalist, I wasn't really interested in being an entrepreneur, but I soon found I had to become an entrepreneur in order to keep my magazine going.

I had a great editor, Rebecca Corbett, from the time I was a city reporter right through to the years I worked on the 'Sun's' enterprise reporting team.

Rewriting is a large part of the whole job. And get rid of stuff that's not working. Just pare it down until it's a beautiful thing you can hand in, probably late, to your editor.

The difference with doing a play is that you are in control. In film you are in the hands of the director and the editor and the producer.

I'm a writer first and an editor second... or maybe third or even fourth. Successful editing requires a very specific set of skills, and I don't claim to have all of them at my command.

It is also one of the pleasures of oral biography, in that the reader, rather than editor, is jury.

A good novel editor is invisible.

When I'm my own editor, there's very little difference between the first draft and the final. I write what feels right to begin with. I rarely make any major changes.

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.

A good editor understands what you're talking and writing about and doesn't meddle too much.

My time as editor has been overlapped by a crisis - a prolonged, labyrinthine, tragic, seemingly non-ending crisis - that involves the prehistory of 9/11, 9/11, Iraq, Afghanistan, fraught histories between the United States and almost everyone.

The essays in The Great Taos Bank Robbery were my project to win a Master of Arts degree in English when I quit being a newspaper editor and went back to college.

In a highly competitive newspaper market, every editor needs to appeal to female readers to boost their circulation.

My only claim to fame, if I have one, is that I'm an editor.

My dad was an editor and a writer, and that's actually what I aspired to be.

When I was in college, I was the editor of the literary magazine and insisted neither the editors nor the writers be specifically identified-only our student numbers appeared on the title page. I love that idea and still do.

Usually I design the lighting and when I have the physical set there, I'm not good at going out loosely and saying, 'Do you what you want, give it to the editor, and he'll figure it out.' I physically then walk on with the actors and I say, 'Let's walk until you guys feel the space works for you, and tell me when all that happens.'

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.'