I always read what I write out loud, and I did that long before any radio thing. My editor finds that unusual.
To practice - write each and every day if possible - then try to attend professional writer's conferences where you can learn your craft, get to know fellow writers, and meet editors and agents.
I called it ignose, not knowing which carbohydrate it was. This name was turned down by my editor. 'God-nose' was not more successful, so in the end 'hexuronic acid' was agreed upon. To-day the substance is called 'ascorbic acid' and I will use this name.
Whatever influence you have, it's only for a small amount of time. When Sir Frank (Packer) sold the Daily and Sunday Telegraph to Rupert Murdoch in 1972, I lost my position as women's editor. Suddenly the phones stopped ringing. All the people who said they were my friends, I didn't hear from them. I was only in my 20's, and that was a sobering lesson to learn: how fleeting everything is, and how easily it can be taken away from you. So you never take yourself too seriously, you never think you're too important.
For 10 years, I'd been working as a freelance writer and editor, making money but not a living. It was a good arrangement family-wise, allowing me to stay home with our daughter, but not so great financially or, sometimes, ego-wise.
The end of spring- the poet is brooding about editors.
I would proclaim that the vast majority of what [say, Scientific American] is true-yet my ability to defend such a claim is weaker than I would like. And most likely the readers, authors, and editors of that magazine would be equally hard pressed to come up with cogent, non-technical arguments convincing a skeptic of this point, especially if pitted against a clever lawyer arguing the contrary. How come Truth is such a slippery beast?
Part of what makes a language 'alive' is its constant evolution. I would hate to think Britain would ever emulate France, where they actually have a learned faculty whose job it is to attempt to prevent the incursion of foreign words into the language. I love editing Harry with Arthur Levine, my American editor-the differences between 'British English' (of which there must be at least 200 versions) and 'American English' (ditto!) are a source of constant interest and amusement to me.
I tend to overwrite; I need a good editor.
You should never settle for what you think is just good. You should drive the editors and writers and everybody nuts until it's great. And if you don't go for great, you won't end up with good. You've got to go beyond your wildest dreams because the exigencies of filmmaking are going to smash you into the ordinary.
[When accepting the American Film Institute Life Achievement award] I beg permission to mention by name only four people who have given me the most affection, appreciation, and encouragement, and constant collaboration. The first of the four is a film editor, the second is a scriptwriter, the third is the mother of my daughter Pat (Patricia Hitchcock), and the fourth is as fine a cook as ever performed miracles in a domestic kitchen. And their names are Alma Reville.
From the essay "Twenty-five Things People Have a Shocking Capacity to Be Surprised by Over and Over Again" 1. Journalists sometimes make things up. 2. Journalists sometimes get things wrong. 3. Almost all books that are published as memoirs were initially written as novels, and then the agent/editor said, This might work better as a memoir. 6. Freedom of the press belongs to the man who owns one.
I studied philosophy, religious studies, and English. My training was writing four full-length novels and hiring an editor to tear them apart. I had enough money to do that, and then rewriting and rewriting and rewriting.
In fact, Lig never formally resigned his editorship—he merely left his office late one morning, and has never returned since. Though well over a century has now passed, many members of the Guide staff still retain the romantic notion that he has simply popped out for a sandwich and will yet return to put in a solid afternoon's work. Strictly speaking, all editors since Lig Lury Jr., have therefore been designated acting editors, and Lig's desk is still preserved the way he left it, with the addition of a small sign that says LIG LURY, JR., EDITOR, MISSING, PRESUMED FED.
An editor is a person who knows more about writing than writers do but who has escaped the terrible desire to write.
the Real-World was a sprawling mess of a book in need of a good editor.
I always had to prove myself through my actions. Be a cheerleader. Be class president. Be the editor of the newspaper.
Film is an editor's medium. You can create very good raw material and they can make it horrible, or you can do not so well and they can make it beautiful. You don't really know.
In art economy is always beauty.
Learn punctuation; it is your little drum set, one of the few tools oyu have to signal the reader where the beats and emphases go. (If you get it wrong, any least thing, the editor will throw your manuscript out.) Punctuation is not like musical notation; it doesn't indicate the length of pauses, but instead signifies logical relations. There are all sorts of people out there who know these things very well. You have to be among them even to begin.
I always have trouble with titles for my books. I usually have no title until the editor has to present the book and calls me frantically, 'Judy, we need a title.
I started working for the 'NY Observer' when I was 33. After I had been writing for them for about a year and a half the editor said, 'Your stories are the most talked about stories in the 'Observer'; you should have your own column.'
My first teacher was Steven Spielberg. I worked on Amazing Stories. That was my first job, as a writer and as a story editor. Watching him and his command of the tools of filmmaking, and his admiration for writing and the story itself, was the greatest lesson I ever had.
Any writer, I suppose, feels that the world into which he was born is nothing less than a conspiracy against the cultivation of his talent.
Critics are like eunuchs in a harem; they know how it's done, they've seen it done every day, but they're unable to do it themselves.
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