Editor Inspiring Quotes

A book is kind of like a good Horcrux, if we can imagine that -- a piece of the writer's soul, preserved in a physical object for all time, and changing the lives of all those who come in contact with it.

There are plenty of bad editors who try to impose their own vision on a book. (…) A good novel editor is invisible.

What happened to Jesus after he was crucified? A historical reconstruction It is an undeniable fact that the New Testament Gospels present the crucifixion and the resurrection as the pivot upon which Christianity is based. However, this notion is most surprising when we take into consideration that this postulation was never part of Jesus's teaching. Certainly the evangelists 'Mark' and 'Matthew' do hint at these strange happenings, but it is a noted fact amongst the majority of the biblical scholars that these sequences were added several centuries after the original Gospels were written, and this was done so that the political editors of these Gospels could adapt the writings according to their political and theological needs...

Don’t dash off a six-thousand-word story before breakfast. Don’t write too much. Concentrate your sweat on one story, rather than dissipate it over a dozen. Don’t loaf and invite inspiration; light out after it with a club, and if you don’t get it you will none the less get something that looks remarkably like it. Set yourself a “stint,” [London wrote 1,000 words nearly every day of his adult life] and see that you do that “stint” each day; you will have more words to your credit at the end of the year. Study the tricks of the writers who have arrived. They have mastered the tools with which you are cutting your fingers. They are doing things, and their work bears the internal evidence of how it is done. Don’t wait for some good Samaritan to tell you, but dig it out for yourself. See that your pores are open and your digestion is good. That is, I am confident, the most important rule of all. Keep a notebook. Travel with it, eat with it, sleep with it. Slap into it every stray thought that flutters up into your brain. Cheap paper is less perishable than gray matter, and lead pencil markings endure longer than memory. And work. Spell it in capital letters. WORK. WORK all the time. Find out about this earth, this universe; this force and matter, and the spirit that glimmers up through force and matter from the maggot to Godhead. And by all this I mean WORK for a philosophy of life. It does not hurt how wrong your philosophy of life may be, so long as you have one and have it well. The three great things are: GOOD HEALTH; WORK; and a PHILOSOPHY OF LIFE. I may add, nay, must add, a fourth—SINCERITY. Without this, the other three are without avail; with it you may cleave to greatness and sit among the giants." [Getting Into Print (The Editor magazine, March 1903)]

Writing doesn't improve by not doing it.

Creativity is a delicate and temperamental creature, and it often wilts away under the weight of “the rules” or the carping of our infernal internal editors.

Don't be dismayed by the opinions of editors, or critics. They are only the traffic cops of the arts.

Even the pool of ink could be dried out and writing papers could be burnt to ashes forever but the spoken word will never die so as the editor.

As a young cartoonist, Walt Disney faced many rejections from newspaper editors who said he had no talent. One day a minister at a church hired him to draw some cartoons. Disney was working out of a small rodent-infested shed near the church. Seeing a small mouse inspired him to draw a new cartoon. That was the start of Mickey Mouse.

Work on yourself more than you do on your job

Happiness is not something you postpone for the future; it is something you design for the present.

Don t wish it was easier wish you were better. Don t wish for less problems wish for more skills. Don t wish for less challenge wish for more wisdom.

Happiness is not by chance, but by choice.

..here's the editor's prescription, writer: 1000 words daily until next checkup.

If you don t design your own life plan, chances are you ll fall into someone else s plan. And guess what they have planned for you? Not much.

Affirmation without discipline is the beginning of delusion.

Learn how to be happy with what you have while you pursue all that you want.

Never wish life were easier, wish that you were better.

Requiems for the Departed contains seventeen short stories, inspired by Irish mythology, from some of the finest contemporary writers in the business.

Destination Kampala! Africa’s postcolonial renaissance.” There would have been few other places in the world where there was such an excitement about new literature, new ideas, and new politics. The inspiration arrived at this conference for a new publishing imprint of literary titles called the African Writers Series, which was soon launched by Heinemann in the U.K., with Achebe as the series editor. The excitement reached as far as my high school in Dar, where literary competitions were held, new drama was produced, and a parade of literary luminaries passed through, including Chinua Achebe.

Today's internet bloggers and television's talking heads don't have that [a partnership]. No safety net. No brakes. No one there to question, doubt or inspire. No editor. [Carl Bernstein's A reporter's assessment]

Books are what you step on to take you to a higher shelf. The higher your stack of books, the higher the shelf you can reach. Want to reach higher? Stack some more books under your feet! Reading is what brings us to new knowledge. It opens new doors. It helps us understand mysteries. It lets us hear from successful people. Reading is what takes us down the road in our journey. Everything you need for a better future and success has already been written.

The mandarins of culture—what do they do to teach the common folk to read? It's no good writing down lists of books for farmers and compiling five-foot shelves; you've got to go out and visit the people yourself—take the books to them, talk to the teachers and bully the editors of country newspapers and farm magazines and tell the children stories—and then little by little you begin to get good books circulating in the veins of the nation. It's a great work, mind you!

But I remember a scene where someone sneaks out into the woods to meet someone. ... And that's where it came from. Everything else is there to turn it from an image into a story. ... That image was strong enough for me to never give up on it, no matter what my editors and agents thought.

Over my entire career in editing, I don't think I've encountered more than half a dozen difficult authors. By "difficult," I mean a writer who simply does not want changes made to his manuscript and is not even prepared to discuss them. We know the stereotypes: The hotshot journalist jealous of every comma. The poet who claims that his misspellings and eccentric punctuation are inspired. Assistant professors writing a first book for tenure are notorious for their inflexibility, and understandably so: their futures are at stake. They take editing personally; red marks on their manuscripts are like little stab wounds. And then there are vain authors who quarrel when we lowercase their job titles, who want their photos plastered all over the piece or their names in larger type. And don't get me started on writers who don't know what they're talking about, writers who are your boss, writers who are former high school English teachers.

Lin-Manuel Miranda stalked an impulse—an inspiration—for six years. He is, among many things, a master editor as well as a monster with the pen. Lin’s a guy who can tell you about failure. He’ll write you a song about it and that song will make you weep. And once the world was introduced to his passion and craftsmanship, he’s a guy who can tell you all about success, too.

If the Lord wishes to use editors and compilers to bring His message to us, that is His decision. And so He has decided. The truth of 2 Peter 1:20, 21 still stands: Scripture has come to us by the Holy Spirit, whether it be through revelation or research, secretary or scribe, editor or compiler – or by large letters written by Paul’s own hand. Any way you write it, it is still God’s Word.

I am often asked by editors, fans, friends about what I read or which authors influence my writing. My answer seems surprising to them, for people expect names and quotes from me, while I give them the source of "feelings". I believe that becoming a writer is not about finding similarities, nor following the same trends, with different accessories. I often un-follow subscriptions and newsfeeds when I want to write about something. When I write I follow, read and am inspired by Life, People and Passion. I guess my "current" is personal and universal. (Soar)

I have no interest in "delivering sermons," challenging people to face the needs of the day or giving bright, inspirational messages. With the help provided by scholars and editors, I can prepare a fairly respectable sermon of either sort in a few hours each week, a sermon that will pass muster with most congregations. They might not think it the greatest sermon, but they would accept it. But what I want to do can't be done that way. I need a drenching in Scripture; I require an immersion in biblical studies. I need reflective hours over the pages of Scripture as well as personal struggles with the meaning of Scripture. That takes far more time than it takes to prepare a sermon.

The other thing that’s happened with writing is that I’m not afraid it will go away. Up until a couple of years ago, I feared that sitting down with paper and pencil revealed too much desire and that for such ambition I would be punished. My vocabulary would contract anorexia, ideas would be born autistic, even titles would not come to flirt with me anymore. I suppose this was tied to that internal judge, the serpent who eats her own tail. She insinuates you’re not good enough; you believe her and try less, ratifying her assessment; so you try even less; and on and on. This snake survives on your dying. Finally, now, the elided words of my wisest writing teacher, the poet David Wojahn, make sense. “Be ambitious,” he said, “for the work.” Not for the in-dwelling editor. That bitch was impossible to please anyway.

One evening in 1930, as he was struggling to recapture the feverish spirit that had fueled his first book, Look Homeward, Angel, Wolfe decided to give up on an uninspired hour of work and get undressed for bed. But, standing naked at his hotel-room window, Wolfe found that his weariness had suddenly evaporated and that he was eager to write again. Returning to the table, he wrote until dawn with, he recalled, “amazing speed, ease, and sureness.” Looking back, Wolfe tried to figure out what had prompted the sudden change—and realized that, at the window, he had been unconsciously fondling his genitals, a habit from childhood that, while not exactly sexual (his “penis remained limp and unaroused,” he noted in a letter to his editor), fostered such a “good male feeling” that it had stoked his creative energies. From then on, Wolfe regularly used this method to inspire his writing sessions, dreamily exploring his “male configurations” until “the sensuous elements in every domain of life became more immediate, real, and beautiful.

Recipe for a Perfect Wife, the Novel INGREDIENTS 3 cups editors extraordinaire: Maya Ziv, Lara Hinchberger, Helen Smith 2 cups agent-I-couldn’t-do-this-without: Carolyn Forde (and the Transatlantic Literary Agency) 1½ cup highly skilled publishing teams: Dutton US, Penguin Random House Canada (Viking) 1 cup PR and marketing wizards: Kathleen Carter (Kathleen Carter Communications), Ruta Liormonas, Elina Vaysbeyn, Maria Whelan, Claire Zaya 1 cup women of writing coven: Marissa Stapley, Jennifer Robson, Kate Hilton, Chantel Guertin, Kerry Clare, Liz Renzetti ½ cup author-friends-who-keep-me-sane: Mary Kubica, Taylor Jenkins Reid, Amy E. Reichert, Colleen Oakley, Rachel Goodman, Hannah Mary McKinnon, Rosey Lim ½ cup friends-with-talents-I-do-not-have: Dr. Kendra Newell, Claire Tansey ¼ cup original creators of the Karma Brown Fan Club: my family and friends, including my late grandmother Miriam Christie, who inspired Miriam Claussen; my mom, who is a spectacular cook and mother; and my dad, for being the wonderful feminist he is 1 tablespoon of the inner circle: Adam and Addison, the loves of my life ½ tablespoon book bloggers, bookstagrammers, authors, and readers: including Andrea Katz, Jenny O’Regan, Pamela Klinger-Horn, Melissa Amster, Susan Peterson, Kristy Barrett, Lisa Steinke, Liz Fenton 1 teaspoon vintage cookbooks: particularly the Purity Cookbook, for the spark of inspiration 1 teaspoon loyal Labradoodle: Fred Licorice Brown, furry writing companion Dash of Google: so I could visit the 1950s without a time machine METHOD: Combine all ingredients into a Scrivener file, making sure to hit Save after each addition.

Seth Godin, author of more than a dozen bestsellers, including Purple Cow and Permission Marketing, understands the importance of frequency and consistency in a book marketing and public relations campaign. He practices these through following these seven steps: Permission marketing. This is a process by which marketers ask permission before sending ads to prospects. Godin pioneered the practice in 1995 with the founding of Yoyodyne, the Web’s first direct mail and promotions company (it used contests, online games, and scavenger hunts to market companies to participating users). He sold it to Yahoo! three years later. Editorial content. Godin was a long-time contributing editor to the popular Fast Company magazine. Blogging. Seth's Blog is one of the most-frequented blogs. Public speaking. Successful Meetings magazine named Godin one of the top 21 speakers of the 21st century. Words used to describe his lectures include "visual," "personal," and "dynamic." Community-building. His latest company, Squidoo.com, ranked among the top 125 sites in the U.S. (by traffic) by Quantcast, allows people to build a page about any topic that inspires them. The site raises money for charity and pays royalties to its million-plus members. E-books. Godin took a step to publish all his books electronically, then worked with Amazon on his own imprint, Domino, which published 12 books. Recently, Godin ended that project – since as he said in a blog, it was a "project" and he is always looking for more and different opportunities. Continuous improvement. Godin is always on the lookout for more ideas, more business opportunities and more engagement with his community.

Blessed Man” is a tribute to Updike’s tenacious maternal grandmother, Katherine Hoyer, who died in 1955. Inspired by an heirloom, a silver thimble engraved with her initials, a keepsake Katherine gave to John and Mary as a wedding present (their best present, he told his mother), the story is an explicit attempt to bring her back to life (“O Lord, bless these poor paragraphs, that would do in their vile ignorance Your work of resurrection”), and a meditation on the extent to which it’s possible to recapture experience and preserve it through writing. The death of his grandparents diminished his family by two fifths and deprived him of a treasured part of his past, the sheltered years of his youth and childhood. Could he make his grandmother live again on the page? It’s certainly one of his finest prose portraits, tender, clear-eyed, wonderfully vivid. At one point the narrator remembers how, as a high-spirited teenager, he would scoop up his tiny grandmother, “lift her like a child, crooking one arm under her knees and cupping the other behind her back. Exultant in my height, my strength, I would lift that frail brittle body weighing perhaps a hundred pounds and twirl with it in my arms while the rest of the family watched with startled smiles of alarm.” When he adds, “I was giving my past a dance,” we hear the voice of John Updike exulting in his strength. Katherine takes center stage only after an account of the dramatic day of her husband’s death. John Hoyer died a few months after John and Mary were married, on the day both the newlyweds and Mary’s parents were due to arrive in Plowville. From this unfortunate coincidence, the Updike family managed to spin a pair of short stories. Six months before he wrote “Blessed Man,” Updike’s mother had her first story accepted by The New Yorker. For years her son had been doing his filial best to help get her work published—with no success. In college he sent out the manuscript of her novel about Ponce de León to the major Boston publishers, and when he landed at The New Yorker he made sure her stories were read by editors instead of languishing in the slush pile. These efforts finally bore fruit when an editor at the magazine named Rachel MacKenzie championed “Translation,” a portentous family saga featuring Linda’s version of her father’s demise. Maxwell assured Updike that his colleagues all thought his mother “immensely gifted”; if that sounds like tactful exaggeration, Maxwell’s idea that he could detect “the same quality of mind running through” mother and son is curious to say the least. Published in The New Yorker on March 11, 1961, “Translation” was signed Linda Grace Hoyer and narrated by a character named Linda—but it wasn’t likely to be mistaken for a memoir. The story is overstuffed with biblical allusion, psychodrama, and magical thinking, most of it Linda’s. She believes that her ninety-year-old father plans to be translated directly to heaven, ascending like Elijah in a whirlwind, with chariots of fire, and to pass his mantle to a new generation, again like Elijah. It’s not clear whether this grand design is his obsession, as she claims, or hers. As it happens, the whirlwind is only a tussle with his wife that lands the old folks on the floor beside the bed. Linda finds them there and says, “Of all things. . . . What are you two doing?” Her father answers, his voice “matter-of-fact and conversational”: “We are sitting on the floor.” Having spoken these words, he dies. Linda’s son Eric (a writer, of course) arrives on the scene almost immediately. When she tells him, “Grampy died,” he replies, “I know, Mother, I know. It happened as we turned off the turnpike. I felt

Only by giving are you able to receive more than you already have.

The more you know, the less you need to say.

Success is neither magical nor mysterious. Success is the natural consequence of consistently applying basic fundamentals.

Dedicated to my best friend and inspiration, and the best editor ever, my wife, Tina Louise Roper.

Life expects us to make a reasonable amount of progress in a reasonable amount of time. That s why they make those second grade chairs so small.

We don t get paid for the hour; we get paid for the value we bring to the hour.

Deeply spiritual, she was a firm believer in God, angels, and the power of prayer.

power of prayer.

My foot hurts every now and then. Not much, just enough to remind me not to take anything that God gives me for granted and to remind me that my faith—my relationship with God—is my own responsibility.

Prayer is still a part of my nightly duties,

I have learned that when there is no other place to turn, turn to God.

remember,” my mother taught me, “that faith is like a muscle; it must be exercised to be strong.

Either you run the day or the day runs you..

Everything you need for better future and success has already been written. And guess what? All you have to do is go to the library.

For what it will make of you to achieve it.

Good people are found not changed. Recently I read a headline that said, "We don t teach people to be nice. We simply hire nice people." Wow! What a clever short cut.

Finding is reserved for those that search.

like to thank the many people who have assisted and supported me in this work. First, thanks to the Johns Hopkins University Press and its editors, who have believed in me from the fi rst: thanks to Anders Richter, who shepherded me through the publication of the fi rst edition, and to Jacqueline Wehmueller, who inherited me from Andy after his retirement and encouraged me to write a second and now a third edition of the book. She has been a constant and steadfast source of inspiration and support for this and many other projects. Immeasurable thanks is owed to my teachers and mentors at Johns Hopkins, Paul R. McHugh and J. Raymond DePaulo, and to my psychiatric colleagues (from whom I never stop learning), especially Jimmy Potash, Melvin McInnis, Dean MacKinnon, Jennifer Payne, John Lipsey, and Karen Swartz. Thanks to Trish Caruana, LCSW, and Sharon Estabrook, OTR, for teaching me the extraordinary importance of their respective disciplines, clinical social work and occupational therapy, to the comprehensive treatment of persons with mood disorders. And thanks, of course, to my partner, Jay Allen Rubin, for much more than I could ever put into words. x ■ pre face

You must take personal responsibility. You cannot change the circumstances, the seasons, or the wind, but you can change yourself.

Success Recipe: 2 cups faith, 2 cups love, 1 cup hard work, 1 cup persistence, 1 tbsp vision and a dash of swagger.

For things to change, you have to change.

        Your life does not get better by chance, it gets better by change.

Success is nothing more than a few simple disciplines, practiced every day; while failure is simply a few errors in judgment, repeated every day. It is the accumulative weight of our disciplines and our judgments that leads us to either fortune or failure.

We generally change ourselves for one of two reasons: inspiration or desperation.

Goals. There s no telling what you can do when you get inspired by them. There s no telling what you can do when you believe in them. There s no telling what will happen when you act upon them.

Without a sense of urgency, desire loses its value.

If you are not willing to risk the usual you will have to settle for the ordinary.

Indecision is the thief of opportunity.

The major reason for setting a goal is for what it makes of you to accomplish it. What it makes of you will always be the far greater value than what you get.

Discipline is the bridge between goals and accomplishment

If you just communicate, you can get by. But if you communicate skillfully, you can work miracles.

Time is more value than money. You can get more money, but you cannot get more time.

Formal education will make you a living. Self-education will make you a fortune.

Don t wish it were easier, wish you were better.

You have two choices: You can make a living, or you can design a life.

Words do two major things: They provide food for the mind and create light for understanding and awareness.

You don t get paid for the hour. You get paid for the value you bring to the hour.

For every promise, there is a price to pay... If the promise is clear, the price is easy...

Success is something you attract by the person you become

Don t read a book and be a follower; read a book and be a student.

Managers help people see themselves as they are; Leaders help people to see themselves better than they are.

We must all suffer from one of two pains: the pain of discipline or the pain of regret. The difference is discipline weighs ounces while regret weighs tons

The more you know, the less you need to say. 

We get paid for bringing value to the marketplace. It takes time,... but we get paid for the value, not the time.

You want to set a goal that is big enough that in the process of achieving it you become someone worth becoming.

The more you know the less you need to say.

        Time is more valuable than money. You can get more money but you can t get more time.

When you know what you want, and want it bad enough, you will find a way to get it.

Don t let your learning lead to knowledge. Let your learning lead to action.

Don t wish it were easier. Wish you were better.

What happened to the troubled young reporter who almost brought this magazine down The last time I talked to Stephen Glass, he was pleading with me on the phone to protect him from Charles Lane. Chuck, as we called him, was the editor of The New Republic and Steve was my colleague and very good friend, maybe something like a little brother, though we are only two years apart in age. Steve had a way of inspiring loyalty, not jealousy, in his fellow young writers, which was remarkable given how spectacularly successful he’d been in such a short time. While the rest of us were still scratching our way out of the intern pit, he was becoming a franchise, turning out bizarre and amazing stories week after week for The New Republic, Harper’s, and Rolling Stone— each one a home run. I didn’t know when he called me that he’d made up nearly all of the bizarre and amazing stories, that he was the perpetrator of probably the most elaborate fraud in journalistic history, that he would soon become famous on a whole new scale. I didn’t even know he had a dark side. It was the spring of 1998 and he was still just my hapless friend Steve, who padded into my office ten times a day in white socks and was more interested in alphabetizing beer than drinking it. When he called, I was in New York and I said I would come back to D.C. right away. I probably said something about Chuck like: “Fuck him. He can’t fire you. He can’t possibly think you would do that.” I was wrong, and Chuck, ever-resistant to Steve’s charms, was as right as he’d been in his life. The story was front-page news all over the world. The staff (me included) spent several weeks re-reporting all of Steve’s articles. It turned out that Steve had been making up characters, scenes, events, whole stories from first word to last. He made up some funny stuff—a convention of Monica Lewinsky memorabilia—and also some really awful stuff: racist cab drivers, sexist Republicans, desperate poor people calling in to a psychic hotline, career-damaging quotes about politicians. In fact, we eventually figured out that very few of his stories were completely true. Not only that, but he went to extreme lengths to hide his fabrications, filling notebooks with fake interview notes and creating fake business cards and fake voicemails. (Remember, this was before most people used Google. Plus, Steve had been the head of The New Republic ’s fact-checking department.) Once we knew what he’d done, I tried to call Steve, but he never called back. He just went missing, like the kids on the milk cartons. It was weird. People often ask me if I felt “betrayed,” but really I was deeply unsettled, like I’d woken up in the wrong room. I wondered whether Steve had lied to me about personal things, too. I wondered how, even after he’d been caught, he could bring himself to recruit me to defend him, knowing I’d be risking my job to do so. I wondered how I could spend more time with a person during the week than I spent with my husband and not suspect a thing. (And I didn’t. It came as a total surprise). And I wondered what else I didn’t know about people. Could my brother be a drug addict? Did my best friend actually hate me? Jon Chait, now a political writer for New York and back then the smart young wonk in our trio, was in Paris when the scandal broke. Overnight, Steve went from “being one of my best friends to someone I read about in The International Herald Tribune, ” Chait recalled. The transition was so abrupt that, for months, Jon dreamed that he’d run into him or that Steve wanted to talk to him. Then, after a while, the dreams stopped. The Monica Lewinsky scandal petered out, George W. Bush became president, we all got cell phones, laptops, spouses, children. Over the years, Steve Glass got mixed up in our minds with the fictionalized Stephen Glass from his own 2003 roman à clef, The Fabulist, or Steve Glass as played by Hayden Christiansen in the 2003

The 1619 Project helped inspire the hatred that fueled the riots that would rage throughout 2020. Rioters, in a Taliban-like fury, tore down and defaced any and all traditional representations of American history. Indeed, Charles Kesler, a professor of government at Claremont McKenna College and the editor of the Claremont Review of Books, dubbed that mob violence “the 1619 riots.”11 And Nikole Hannah-Jones, the New York Times Magazine reporter “from whose mind the project sprang,” agreed.12 In a tweet, Hannah-Jones proudly embraced the “1619 riots” label as an “honor.”13 In a public radio interview she explained, “I think [The 1619 Project] has allowed many Americans, particularly white Americans, to connect the dots they weren’t connecting before,” namely between “police violence and inequality.”14 And, as she insisted in a CBSN interview, the destruction of property is not really violence. “Violence is when an agent of the state kneels on a man’s neck until all of the life is leached out of his body,” she said, referring to the death of George Floyd.15 Hannah-Jones had nothing to say about the twenty-five or more individuals, black and white, who had been killed in the riots.16

Why was there so little support for disability rights? It was true that the organized disability rights movement avoided the media. Its leaders felt they had good reason. Most stories about disability were inspirational features about disabled people who had overcome personal affliction with a smile and a bundle of courage, and disability rights advocates said this was not the story they wanted to convey. They seemed to believe, perhaps with justification, that they could not convince reporters or editors of any other approach.

The Fearless Flyer began life in 1969 during the Good Time Charley phase of Trader Joe’s as the Insider’s Wine Report, a sheet of gossip of “inside” information on the wine industry at a time where there weren’t any such gossip sheets, for the excellent reason that few people were interested in wine. As of the writing of this book, 11 percent of Americans drink 88 percent of the wine according to contemporary wine gossip magazine the Wine Spectator. In the Insider’s Wine Report we gave the results of the wine tastings that we were holding with increasing frequency, as we tried to gain product knowledge. This growing knowledge impressed me with how little we knew about food, so in 1969, we launched a parallel series of blind tastings of branded foods: mayonnaise, canned tuna, hot dogs, peanut butter, and so on. The plan was to select the winner, and sell it “at the lowest shelf price in town.” To report these results, I designed the Insider’s Food Report, which began publication in 1970. It deliberately copied the physical layout of Consumer Reports: the 8.5” x 11” size, the width of columns, and the typeface (later changed). Other elements of design are owed to David Ogilvy’s Confessions of an Advertising Man. The numbered paragraphs, the boxes drawn around the articles, are all Ogilvy’s ideas. I still think his books are the best on advertising that I’ve ever read and I recommend them. Another inspiration was Clay Felker, then editor of New York magazine, the best-edited publication of that era. New York’s motto was, “If you live in New York, you need all the help you can get!” The Insider’s Food Report borrowed this, as “The American housewife needs all the help she can get!” And in the background was the Cassandra-like presence of Ralph Nader, then at the peak of his influence. I felt, however, that all the consumer magazines, never mind Mr. Nader, were too paranoid, too humorless. To leaven the loaf, I inserted cartoons. The purpose of the cartoons was to counterpoint the rather serious, expository text; and, increasingly, to mock Trader Joe’s pretensions as an authority on anything.

Big ideas are often big precisely because they defy categorization. But blame it on our human tendency to want some kind of peg to hang our hat on. So before you blow up the category, what your editors, copywriters and marketing department might want to know is, what’s the niche?

Sundown Towns After Reconstruction and before the civil rights era, signs like the one in our story popped up on the outskirts of thousands of small towns across the country, warning “colored people” to keep moving. This created a huge problem for the Black traveler and inspired an annual publication guidebook from 1936 to 1966 for African American motorists, called The Negro Motorist Green Book, or just the Green Book, after its editor, Victor Hugo Green. It also inspired the title of the Academy Awards’ 2019 winner for Best Picture.

Just as YouTube started with manual curation, most networked products can start with manual efforts. This means exercising editorial judgment, or allowing users to curate content themselves. The App Store has millions of apps, so when Apple releases a list of “Apps of the Year” in the App Store, it aids discovery for consumers but also inspires app developers to invest in the design and quality of their products. Or platforms can leverage user-generated content, where content is organized by the ever-popular hashtag—one example is Amazon’s wish lists, which are driven primarily by users without editors. Similarly, using implicit data—whether that’s attributes of the content or grouping the originator by their company or college email domain name—can bring people together with data from the network. Twitter uses a hybrid approach—the team analyzes activity on the network to identify trending events, which are then editorialized into stories.

While George wanted this new video-editing system in place, the film editors at Lucasfilm did not. They were perfectly happy with the system they had already mastered, which involved actually cutting film into snippets with razor blades and then pasting them back together.

ACKNOWLEDGEMENTS My husband, for all the backrubs he gives me, the double-chocolate muffins he bakes, for the kisses, the gentle teasing, the pep talks, and the patience he displays whenever I am stressed, irritated, angry, or grumpy about uncooperative characters and plots. Thank you for listening to my theories about true crime shows and for being a magnificent DM for our D&D group. My brave, funny, fierce daughter, whose persistence and strength in the face of multiple challenges, including spina bifida and clubfoot, inspires me every day, and my sweet, sensitive, story-loving son, who has worked so hard to learn coping strategies for his sensory processing disorder. “Allo” you both with all my heart, babies. Thank you for inspiring me, for keeping me laughing, for asking for so many kisses and hugs every single day, and for having absolutely zero interest in my stories because they don’t feature any trains. D, for helping with my children during a pandemic when no one else is available, and for reading a thousand books to them and “playing Star Wars” with them so enthusiastically. My family, for helping so much with my children and supporting my career’s success however you can. Love you guys. Dani Crabtree, for being the most understanding and flexible editor in existence. If this book has errors, they’re mine. (I like to add extra things after she’s seen the book.) My dear, lovely, generous readers—thank you from the bottom of my heart for reading and loving my books. I couldn’t do it without you. The stories only come alive with your imaginations, so with you all to imagine them, our beloved characters would only live in my head. I’m thrilled to share them with you. Thank you for all the notes you write me and the emails you send. Your words make a difference, especially when I’m struggling to remember what I love about this job (usually during a particularly stubborn first draft.) I love you all!

I am shocked to find that some people think a 2 star 'I liked it' rating is a bad rating. What? I liked it. I LIKED it! That means I read the whole thing, to the last page, in spite of my life raining comets on me. It's a good book that survives the reading process with me. If a book is so-so, it ends up under the bed somewhere, or maybe under a stinky judo bag in the back of the van. So a 2 star from me means,yes, I liked the book, and I'd loan it to a friend and it went everywhere in my jacket pocket or purse until I finished it. A 3 star means that I've ignored friends to finish it and my sink is full of dirty dishes. A 4 star means I'm probably in trouble with my editor for missing a deadline because I was reading this book. But I want you to know . . . I don't finish books I don't like. There's too many good ones out there waiting to be found.

I love my rejection slips. They show me I try.” —SYLVIA PLATH

Kind words have such power; they can lift your spirits, boost your self-esteem, and even change your life—

Art depicting the Pythia as a young, naked woman Chapter 4: Prophetic Inspiration and Oracular Response The ruins at Delphi An illustration depicting the Pythia “There are two ways opposite to each other, one leading to the house of freedom, the other to the house of slavery. Lead the people on the road that goes through courage and harmony; avoid that which leads through strife and ruin.

Think like a queen. A queen is not afraid to fail. Failure is another steppingstone to greatness.

Of the seven Archons that had combined to form the Milky Way mind, Orion had been the Archon whose verve and remorseless drive inspired and frightened and tempted the others into cooperation. Of the twenty-five Authorities forming the long-lost Orion Arm, the Benedictine was the most significant and influential of the ancient forefathers. The Benedictines were combination of three Dominions, issuing from the Collective at the Praesepe Cluster, the Abstraction at Orion Nebula, and the Empyrean at the Hyades Cluster. The Empyreans issued from a world called Eden, allegedly outside Hyades itself, and had displaced the original inhabitants of Hyades, a rude confederation of Virtues, Hosts, and races who names even devout paleohistorians could not with certainty invoke. Occupying the debris of the oldest archival strata were traces of the legendary founder of this Domination, an Empyrean called the Judge of Ages. He was the direct lineal ancestor of the memory chains of the last-known warlord of the Milky Way. Variations of him existed everywhere, of course; he was the base template for nearly every emissary form known in the Milky Way, and the founder of the Count-to-Infinity cliometric which had replaced the Cold Equations of the Interregnum. But such emissaries had been sent to Andromeda and rejected, even destroyed. No recent version of the countless copies would do, nor was there time to send to the core of the Milky Way, where the vast warlord Archon was last known to have been active. Once of the necromancers—call her Alcina—sought his ghost where others had overlooked, in one of the oldest archives, well preserved, amid the Austerity of the Cygnus Arm. Alcina reconstructed him, mind and body, comparing this core to many other records, carefully parsing away amendments and mythical excrescences of later editors. And Menelaus Montrose came to life once more, swearing.

editor and edited my first book in a wonderful way. For this book, however, time devoted to bringing up the children made a renewed editorial collaboration impossible. I hope the reader will not suffer unduly as a consequence! My children Christiana Dagmar and Eric James have watched me work on the book—indeed they could not avoid it as I often write at home. I hope they have been drawing the lesson that academic research can be really fun. Certainly, that is the lesson I drew from my father, Arthur von Hippel. He wrote his books in his study upstairs when I was a child and would often come down to the kitchen for a cup of coffee. In transit, he would throw up his hands and say, to no one in particular, “Why do I choose to work on such difficult problems?” And then he would look deeply happy. Dad, I noticed the smile! Finally my warmest thanks to my MIT colleagues and students and also to MIT as an institution. MIT is a really inspiring place to work and learn from others. We all understand the requirements for good research and learning, and we all strive to contribute to a very supportive academic environment. And, of course, new people are always showing up with new and interesting ideas, so fun and learning are always being renewed! Democratizing Innovation 1  Introduction and Overview When I say that innovation is being democratized, I mean that users of products and services—both firms and individual consumers—are increasingly able to innovate for themselves. User-centered innovation processes offer great advantages over the manufacturer-centric innovation development systems that have been the mainstay of commerce for hundreds of years. Users that innovate can develop exactly what they want, rather than relying on manufacturers to act as their (often very imperfect) agents. Moreover, individual