My wife and I, we work together. And we wrote this book, "Dad Is Fat." And in the book, I was encouraged constantly by my editor to be more personal and talk about more personal experiences.
Angelo Corrao was our editor [in Dream of Life], and he was just so diligent and so old-school in the way he looked at editing. He would take my far-out ideas and tame them and make sense of them.
A lot of work was done with one of my best friends and editor, Spencer Averick, who's edited everything I've ever made from the very, very first documentaries; the very, very first films I made were docs, so we learned the form together.
Originally, I broke the story [The Gunslinger Born] into eight comic books, but when the editors at Marvel thought we should make it more compact, I managed to cut back to seven.
I never saw myself as a director. It's certainly a second language but making movies for 40 years, you pick stuff up. However, this style of making movies, this documentary style, is easier for me because I gather a lot of material and with an editor, write it on screen. You try to write based on what you shot.
My job as a film editor is to construct a dramatic narrative because otherwise it's just a chaotic arrangement of sequences.
You have to see the stories [The New York Times] have written, it's one after another, after another, and facts mean nothing, third-rate journalism. The great editors of the past from the New York Times and others, ladies and gentlemen, are spinning in their grave.
If you're an editor at TIME magazine or writer at TIME magazine and you are shocked to look at real documented research that says men and women are different - what in the world did you believe beforehand?
MAD FREE is simply described as "Liberating Conversations with Revolutionary Women about Beauty, Image and Power". It began as a Salon series in NY loft in Brooklyn as a salve to my broken heart after Honey Magazine folded. It was not because of the readership or because the market wasn't there; the company that held it collapsed, which I was the last editor in chief of.
My original book [Straight to the Heart: Political Cantos] was 1,700 pages. The first editor brought it down to 700; there was a lot that didn't make it in. But at last it's finished. I had a hard time signing off on it. And I was worried about it hurting anyone I loved even indirectly. I sat in my room afterwards for two hours wondering what I had done. I wondered about it being judged and if people would understand.
A book of poems doesn't just come out by chance, an editor has to select it, a publisher has to distribute it or you will never see it.
Ultimately, a city is formed by its people and the women in Berkeley are just great. They are opinionated, they have ideas, they belong to boards, and they write letters to editors... really wonderful people.
We are watching people who've been educated in the public school system and in colleges for the last 25 or 30 years become adults. They're getting jobs as TV commentators and journalists and writers and editors and producers in the media. And we're simply seeing the product of what they've been taught. And they so hate what they've been told is America's history and past that they want everybody to know they disagree with it and they've got nothing to do with it, and they had nothing to do with it, and don't blame them.
The beauty with comics - and also the risk - is it is a far smaller number of voices. It's the writer and the artist and to a lesser extent the editor, who typically is the silent partner, if you've got a good enough team. Whatever you put out is the author's intent. You have to be able to defend that, of course. You have no one to hide behind, or no one to blame but yourselves, which I find refreshing because I've found in film too many times I've been blamed for other people's decisions.
Frequently, an author gets "orphaned" at a publisher. What this means is that an editor buys their book, then ends up getting fired, promoted, or transferred to a different job somewhere else. It sucks for the author because suddenly the person who liked your book enough to buy it isn't around to help you edit and promote it.
If you enjoy reading, writing, learning, and sharing what you have learned, don't hesitate to look for a life where you can continue to do those things. It could be as a scientist, an educator, an editor, a journalist, the founder of an organization. You only live once, and it is a tragedy if you deny yourself these options without trying to pursue them.
I've learned a heck of a lot this way [making Dark Tower comics]. I've also learned a lot from the editors at Marvel, who are always an equal part in the creative team.
Maybe [I care about language] because I'm an editor, maybe because I'm picky, but it's all we got, don't shrink it. Don't dumb it out, make it little.
Let's not pretend there isn't a huge industry driven by the choices made by editors and writers who decide what a story is.
David Remnick [the New Yorker's editor in chief]is about as interested in anything gay as I am interested in anything to do with baseball. It drives me nuts.
I just so desperately wanted to be published in New Yorker, and I'd so desperately try to get something in it. But I'd always get nice letters back telling me that Mr. Shawn [William Shawn, the New Yorker's editor from 1952 to 1987] just didn't like this or didn't like that about what I submitted.
I've often said to myself, "Thank God I can write, 'cause this is hilarious." I actually wanted to go into all that more in the book, but my editor thought it was too crazy.
I've never met a deadline I couldn't miss. I make sure my editors know this.
As long as I'm giving a little hype, I can't resist saying that Elie [Wiesel] has also written a number of pieces for Bible Review, for which I serve as editor.
Write letters to your editors, write to your members of Congress, and write to your news stations.
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