I began using pseudonyms early in my career, when I was being paid a quarter a cent a word for my work, and when I had to write a lot to earn a living. Sometimes I had three or four stories in a single magazine without the editor knowing they were all by me.
Photography belongs to a fraternity of its own. I was young and enthusiastic and wanted to take good pictures to show the other photographers. That, and the professional pride of convincing an editor that I was the man to go somewhere, were the most important things to me.
When I went in, my editor said, 'I hope you don't think you're a writer.' And I said, 'I hope you don't think I'm a journalist.' And, uh, turned out we were both right.
On the other track I got to talk with Jon Poll, my editor, and we go into more detail about the decisions we made in both the production and the post-production. So I hope the combination becomes something worth collecting.
Before MS moved in on me, I'd worked for seven years as a city lawyer, as the editor of a literary magazine, and before the age of 20, I'd also worked as a cadet journalist and as an assistant director in both film and TV. And then, after the lesions of MS, both on my spine and in my brain, I was the opposite of bionic.
Dullness is the only crime for which an editor ought to be hung.
After university, I got a job sub-editing and for years I was a literary editor.
I'd be far too self-conscious and insecure if I suspected my editor might be a better novelist than I.
My publisher, who was so good as a taster and editor, when she became a writer, lo and behold, it was all this feminine tosh.
I had always loved to write and my mom was my editor for my school papers.
I was a good student - a geek, really - editor of the school paper, thought I was going to go to university.
Editor: a person employed by a newspaper, whose business it is to separate the wheat from the chaff, and to see that the chaff is printed.
Always point your finger at the chest of the person with whom you are being photographed. You will appear dynamic. And no photo editor can crop you from the picture.
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.
A very good editor is almost a collaborator.
Substitute 'damn' every time you're inclined to write 'very'; your editor will delete it and the writing will be just as it should be.
Professional humorists and cartoonists have to go through a stage in which they have to kill their own internal editor just so they can get stuff out. So whether they believe it or not, they need me on the other end to do that editing for them.
I'd gotten myself into a kind of journalism that wasn't really compatible with rearing an infant. I'd been a foreign correspondent for a long time and had this subspecialty in covering catastrophes. It had spoiled me a little because you have a tremendous amount of autonomy, and I couldn't really see being an editor in an office.
I didn't do a masters in creative writing until I was 26, which is quite old, and then I found myself in New York and I needed money, so I started working full time as an editor.
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.
In live-action, writing, production, and editing happen in discrete stages. In animation, they overlap - happening simultaneously. This allows a real dialogue to occur between the writer, the director, the actors, and the editor, and it makes the writing process a lot more collaborative and a lot less lonely.
I've been a teacher at the college level, in composition mostly, and I've been an editor on magazines.
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.
I worked as a production assistant on a couple of films, and finally, I got a job at an animation studio as an editor. After that, work begat work. I got into directing music videos and commercials.
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.
Being a conductor is kind of a hybrid profession because most fundamentally, it is being someone who is a coach, a trainer, an editor, a director.
Everything else - music, cinematography, costumes, design, acting - can be judged at face value. But when you're looking at editing, you don't know what the totality of the material was, and you don't know the working dynamic between a director and an editor - whether the editor was micromanaged or given free rein. It's very difficult.
I was editor of my high school literary magazine and a reporter for the school newspaper.
A literary journal is intended to connect writer with reader; the role of the editor is to mediate.
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.
Every drama requires a cast. The cast may be so huge, as in Leo Tolstoy's 'Anna Karenina,' that the author or editor provides a list of characters to keep them straight. Or it may be an intimate cast of two.
In my role as Wikileaks editor, I've been involved in fighting off many legal attacks. To do that, and keep our sources safe, we have had to spread assets, encrypt everything, and move telecommunications and people around the world to activate protective laws in different national jurisdictions.
An editor is someone who separates the wheat from the chaff and then prints the chaff.
I was an English major at the University of Minnesota, and I was very shy, which many people misinterpreted as intelligence. On the basis of that wrong impression, I became the editor of the campus literary magazine.
I was asked by an editor to consider writing something about an American inventor. I asked him if he knew who invented the computer. He said he didn't. In that case, I told him, I should write a book about John Vincent Atanasoff.
Peter Stanford is a writer on religious and ethical matters. He was for four years editor of the 'Catholic Herald.'