I believe every editor should stand to edit. That's just my particular soapbox. Some things are so delicate and depend on such fine, delicate work. One frame in one direction or another can make such a difference and it is, in that, like brain surgery.
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.
You act in a movie, and at the end of the day, the director and editor decide what your performance is.
Part of the process of reading is constantly hitting the pause button, and now and then the rewind button, to ponder a word that's been chosen by the author as exquisitely as the filmmaker chooses an image or a sound editor chooses a sonic clue - the tolling of a bell in the distance to evoke memory, for instance.
One of my first jobs was as a recipe tester for a PR agency. One week, the editor of 'Housewife' magazine called my boss and asked me to write a column - the cookery editor had gone away on a press trip. I was terrified.
Publishing your work is important. Even if you are giving a piece to some smaller publication for free, you will learn something about your writing. The editor will say something, friends will mention it. You will learn.
I was working at the 'Evening Standard' when I heard that there was a job going as deputy literary editor on the 'New Statesman.' I remember thinking, 'That's perfect.' It was three days a week, and I had children, but I could make that work - so I applied for it and got it.
The original idea of blog publishing was that writer and reader would be on the same level. That it would be a conversation - not a lecture. People lost sight of that. We didn't. Kinja is designed to break down the walls of the ghettos. So that everybody - editor, writer, source, subject, expert, fan - can be a contributor.
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 it always cheers a news editor when a story has what we describe as 'legs' therefore it, erm, runs.
In film, you're so much in the hands and at the mercy of the editor, so sometimes it's good to watch it just to see how it turns out - it can be so different than how you imagined it. But sometimes it's better to just let it go for your own sense of self worth.
It generally takes me about nine months from the point the book is conceived to the point my editor sends it off to be typeset.
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.
Anyone nit-picking enough to write a letter of correction to an editor doubtless deserves the error that provoked it.
I started to write a new editor not too long ago and had it about half done after two days.
I always swore I would never write a book. But I read Clare Balding's and it was really interesting and so prettily written and lovely and not too revealing. I went to her book launch and met her editor who said 'why don't you think about it? You can do it however you want, based on your characters or you.'
The greatest films ever made in our history were cut on film, and I'm tenaciously hanging on to the process. I just love going into an editing room and smelling the photochemistry and seeing my editor wearing mini-strands of film around his neck.
Screenwriting is a much more collaborative effort. When you write a novel, it's just you, with input from your editor.
I had always been quiet and studious in school. I was the high school editor of the newspaper.
Movies are an editor's medium.
It's always hard to write and get your words out there, to find an editor, a publisher - readers! - who are going to appreciate them.
The great thing about the animation process is that is goes from, I write the lines, it goes to the actors, the actors bring a whole world to that, they bring the characters to life, then it goes to the animators, then it goes to the editor who cuts it together, and then you screen it and it goes back through the system again.
My only claim to fame, if I have one, is that I'm an editor.
In the world of book writing, an author really gets to have control over what he or she writes, which is why it is very satisfying. With the help of a great compatible editor, you really have something in the end you can call your own.
One guy records the voices, another guy times the storyboard, another guy times the sheets, one guy is the story editor. All these jobs should be covered by the director.
After a series of jobs that I prefer not to recall, I was hired in the early eighties as fashion editor of 'New York' magazine.
I was really the first-line editor of the 'House of Night' series. I didn't write that much of the story, and I didn't know what was happening until my mom finished the book and sent it to me because I wanted to read it with fresh eyes as a general reader would.
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.
The great thing about stage is that you have more control. The stage is yours. The time is yours. Film is really the editor's medium.
Writers' bedtimes vary, but few have been spared the shock of a copy editor's early wake-up call.
Once you've worked as a writer and editor in the world of social media for a decade, the way I have, you start to notice patterns.
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.
I'm just loving BlueGriffon Editor! XML, HTML5, CSS, ARIA, SVGEdit all built in.
If every editor turns you down, maybe you should take a second look at your text, however, just in case.
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.
I was the executive editor on a little magazine called Greek Accent, whose only claim to fame is that its art director went on to be the art director of Discover for many years.
