When I write, I tend to be quite cut off from the world. At that point of time, I'm not thinking about editors, publishers or readers. I write the story the way it comes to me.
Editors are more concerned with the first chapters of a book; that's what everyone reads first in the bookstore or in the online sample.
I guess if one set of my books was selling like Stephen King's, and the other wasn't selling at all, editors would want me to do the ones that sold like Stephen King's. But they seem to be willing to let me pick what I want to do next.
I don't think fashion week will go back to what it used to be because people are realising that the industry is completely changing. It's not just in Bryant Park any more, people are figuring out who their audience is, where they want to show, they aren't really playing by the rules. It's not so much about these editors, these buyers.
There are many more want-to-be writers out there than good editors.
I did a lot of theater, so especially as an on-camera camera actor, there are so many things that aren't in your toolbox. They're somebody else's job. You think about editors and rhythm. Volume isn't even in your control.
Newspaper editors are men who separate the wheat from the chaff, and then print the chaff.
I've been around so long, most editors think I'm dead.
Honestly, I expected to get a cold reception because of my subject matter. But when editors took a look at the story I had to tell, and saw that this was not a parochial story at all, they really warmed to it.
While editors and newspaper owners currently fret over shrinking readership and lost profits, they do the one thing that insures cutting their own throats; they keep reducing space for the one feature that attracts new young readers in the first place; the comic strips.
Sure, some journalists use anonymous sources just because they're lazy and I think editors ought to insist on more precise identification even if they remain anonymous.
I depend on good editors and a good director.
We are very private, so we decided from early on that we will keep the press and editors and everybody out of our house.
When I first started to write, I was aware of being queer, but I didn't write about it. Queer poems would probably not have been accepted by the editors I sent them to.
The Bush administration works closely with a network of rapid response digital brownshirts who work to pressure reporters and their editors for 'undermining support for our troops.'
Try to meet as many authors, agents, and editors as you can.
When my editors and I at 'Rolling Stone' came up with the idea to do a profile of General McChrystal, I simply just e-mailed General McChrystal's press staff, said we wanted to do a profile, and said if you could give us any time to hang out with the general, that would be great.
Editors of open anthologies actively seek submissions from all comers, established and unknown. They are willing to read whatever the tide washes up at their feet.
I represent a body image that wasn't accepted in high fashion before, and I'm very lucky to be supported by the designers, stylists, and editors that I am: ones that know this is fashion; this is art. It can never stay the same. It's 2015.
As one of the first editors at 'Outside' magazine in 1975, it was my contention that most American writing going back to James Fennimore Cooper and then through Twain up to Hemingway had been outdoor writing. At that time, adventure writing meant stuff like 'Saga' or 'Argosy.' 'Death Race with the Jungle Leper Army!' That kind of thing.
Successful model? That's a myth. The year I modeled was the most painful year of my life. Editors would always talk to you in the third person as though you were merely a piece of merchandise.
When U.S.-based editors and columnists parachute into a news storm, it is often the stringers who keep us out of trouble, helping us glimpse the complexity behind the headlines.
When I left high school, my dad was directing a film, and I went to work for him as a P.A. There were two wonderful editors, Bud Isaacs and Bernie Balmuth, working on the project, and every chance I had, I would go to the editing room to watch and learn from them.
My books have been translated into various languages and sold in other countries, but I never have any contact with the foreign publishers and am so disconnected from that process that it seems almost imaginary. With 'How to Save a Life', I worked closely with Usborne editors and have been involved in the publicity.
Of course there are some actors that are better than others and performances that are better than others, but they're always embedded in the greater film. They are mediated through the work of so many other people: the director directs, the lighter sets the scene, the editors edit, the music gets put to it.
In the early '70s - a very good time for children's books and their authors - editors and publishers were willing to take a chance on a new writer. They were willing and able to invest their time in nurturing writers with promise, encouraging them.
The global embrace of the Chilean miners had as much to do with the state of the planet as it did the fate of the trapped men. Every year, thousands of miners are trapped and die. Hundreds more are rescued. The world's press has no shortage of global good-news stories. Heroes abound if reporters and editors take the time to search.
People often think that reporters write their own headlines. In fact, they almost never do. The people who do write headlines are the copy editors who are the front and last lines of quality-checking in a newspaper before it goes to print.
I'm a lot more productive in an actual office. I love being around our other editors, and going there every day alleviates some of the guilt that I think many self-employed people feel when you know you could always be working from your laptop at home. I feel so relaxed there, while completely engaged and inspired.
Journalists who are devoted to strictly factual reporting take particular pleasure from satirical news outlets that have the liberty to laugh and even mock the hypocrisy that reporters and editors must simply observe without comment.
Most editors are just worried about their jobs. They're overwhelmed. They're underpaid. They do the best they can.
Sometimes you're talking to a tennis ball on a stick, and you have to imagine what is supposed to be there and trust that the editors and the animators are going to make it all convincing to the audience. You have to pull a lot from within.
The age of celebrity editors and monstrous staffing are over.
I don't even like showing my stuff to publishers and editors much.
We rely on editors of blogs or websites and television stations to supply us these images, and the filter is becoming very thin and very porous. The ratings race for TV and websites is incredibly fierce, and one of the ways of getting people to watch is through graphic violent images.
All my editors since Malcolm Cowley have had instructions to leave my prose exactly as I wrote it. In the days of Malcolm Cowley, with 'On the Road' and 'The Dharma Bums', I had no power to stand by my style for better or for worse.
