Sometimes, I repeat myself, and that was a second elimination [of Barack Obama]. I worked with a team, including a great editor who, as the project came together, suggested other additions and eliminations. It was a process.
If Jeff Sessions had been an editor of something like "Breitbart", Ronald Reagan wouldn`t have even nominated him.
The Lampoon started in 1970, and I began writing freelance for them around the end of 1971, and then all through '72. They hired me in '73, and I left early in '81. I did everything from low puns to being editor-in-chief.
I was managing editor for a while [in National Lampoon ], and it does cause business problems when your circulation goes up.
I had grown up as a feature writer, and basically my career had been in The National Lampoon and as a magazine editor, and I'd never been a reporter.
Bob Wallace was my editor at Rolling Stone when I first started writing there, and he's a wonderful editor. I was in the Philippines during the Marcos overthrow, and I was up on what was called Smokey Mountain. I think it's gone now, but it was a garbage dump with a bunch of people living on it. I was talking to Bob on the phone, and I told him, "I'm a humorist. I can't write about this." And Bob told me to let my style be dictated by the subject, to take what I saw and write about it in the tone that it requires.
I remember when I was working on All Alone in the Universe, and Robin Roy was my editor. When I first sent it to her, she said kids this age don't want pictures in their books.
[Alex] Haley had a tendency to write even more frequently and voluminously to his agents and his editors than he did putting pen to paper in his own books.
The film [Dream of Life] is the way it is because it was the rhythm of my life, and also because the director and the editor are both gifted and both fine human beings.
I came up with more money, took all the footage, got a great editor and made this film [Dream of Life]. But I really didn't go into it with the intention of making a movie.
[Margot Hentoff] was an editor there for a time as well as a writer.
Dealing with politically-engaged writers of color like Abdellatif Laâbi and Rashid Boudjedra - who ran away from school aged sixteen to fight against the French in the Algerian war - first requires convincing an editor to take a chance on them, which very few like to do these days.
I got married three days after graduation, and the first thing I did what I was expected to do which was to work on a small newspaper. So we were in Chicago where my husband worked for the Chicago Sun-Times and we were having dinner with his editor and he said 'So what are you 'gonna do honey?' and I said 'I'm going to work on a newspaper', and he said 'I don't think so", because Newspaper Guild regulations said that I couldn't work on the same newspaper as my husband.
Whenever I visit Korea she [Kang] buys me lunch and takes me to a gallery. As if all this wasn't enough, she has incredible respect for translation as a creative, artistic practice - she insists that each English version is 'our book', offered to share her fees with me when she found out I wasn't getting paid for translating her publicity stuff, always asks the editor to credit me, and does so herself whenever she's interviewed. Too good to be true.
At the same time that you've got to open yourself up to the fact that experience is going to teach you year after year, decade after decade. I remember I very badly wanted to write a newspaper column when I was only 21 years old, and I went to my editor and told him that, and he said, "You're a really good writer, but you haven't lived long enough to be qualified to live out loud."
The lovely thing is, if Marvel had a Spider-Man movie over at Sony or something, they own the rights to the character, and the editors and producers make suggestions and get notes and things. But you're talking about Matthew Vaughn and Jane Goldman. They're two of the best people in the world. The notes are just things like, "This is absolutely brilliant."
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.
My very first venture was a national student magazine to try to campaign against the [Vietnam] War. And so I wanted to be an editor. I wanted to bring the magazine out. And in order for the magazine to survive I had to worry about the printing and the paper manufacturing and the distribution. And, you know, I had to try to, at the end of the year, have more money coming in than going out.
Apple has a passion to deliver the most amazing, innovative - and, in fact, I got criticized because in "Win," there are at least 10 references to what Steve Jobs has done, and Apple's done, in that my editor said it's too much. But Apple is a passionate company.
51% of the French people - who are not very religious - were thinking that what "Charlie Hebdo" did was unwise. They aren't asking for a law to prevent Charlie Hebdo from publishing caricatures, but they are calling on its editors to be a bit more sensible.
Louis Brandeis really inspired me to write this book [Louis D. Brandeis: American Prophet]. It was a crazy deadline. The editor said I'd miss the hundredth anniversary unless I pumped the thing out in six months, because I'd been delaying and dilly dallying for so long. So he both inspired me to get up early and write.
I was always creatively stubborn, adverse to editing by others, and wanted to use the kind of Ukrainian we spoke among ourselves rather than the more artificial prescribed literary Ukrainian. The problem was the greatest in prose, where editors would change my language because "it sounded better this way." My poetry they left alone probably out of deference to that hallowed genre.
The fuzzy boundary lines between different readership ages have always puzzled me, so these days I just write what comes, and assume I can fix the mess later with an editor's help.
I have to trust that if a story is strong, it can find its readership, and good editors can steer me well.
Unless you are in the willingness and ease and ecstasy of some kind of moment, you may end up the editor of your thoughts and of your expressions. I find I'm that way on stage.
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