Editors Edit Quotes

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While writing is like a joyful release, editing is a prison where the bars are my former intentions and the abusive warden my own neuroticism.
Tiffany Madison
A good editor doesn't rewrite words, she rewires synapses.
S. Kelley Harrell, M. Div.
Authors who moan with praise for their editors always seem to reek slightly of the Stockholm syndrome.
Christopher Hitchens (Blood, Class and Empire: The Enduring Anglo-American Relationship)
There should be no crying in copyediting.
Carol Fisher Saller (The Subversive Copy Editor: Advice from Chicago (or, How to Negotiate Good Relationships with Your Writers, Your Colleagues, and Yourself))
A good editor is like a pair of Spanx: firming up the body, making the subject look good, and absolutely invisible.
Sandi Layne
When she got back from taking Cassie to school Fancy knew that she ought to be working on her wilderness romance. She had promised thirty thousand words to her editor by tomorrow, and she had only written eleven. Specifically: His rhinoceros smelled like a poppadom: sweaty, salty, strange and strong. Her editor would cut that line.
Jaclyn Moriarty (The Spell Book of Listen Taylor)
Growing a culture requires a good storyteller. Changing a culture requires a persuasive editor.
Ryan Lilly
Write poorly. Suck. Write Awful. Terribly. Frightfully. Don’t care. Turn off the inner editor. Let yourself write. Let it flow. Let yourself fail. Do something crazy. Write 50,000 words in the month of November. I did it. It was fun. It was insane. It was 1,667 words per day. It was possible, but you have to turn off the inner critic off completely. Just write. Quickly. In bursts. With joy. If you can’t write, run away. Come back. Write again. Writing is like anything else. You won’t get good at it immediately. It’s a craft. You have to keep getting better. You don’t get to Juilliard unless you practice. You want to get to Carnegie Hall? Practice. Practice. Practice ..or give them a lot of money. Like anything else it takes 10,000 hours to get to mastery. Just like Malcolm Gladwell says. So write. Fail. Get your thoughts down. Let it rest. Let is marinate. Then edit, but don’t edit as you type. That just slows the brain down. Find a daily practice. For me it’s blogging. It’s fun. The more you write the easier it gets. The more it is a flow, the less a worry. It’s not for school, it’s not for a grade, it’s just to get your thoughts out there. You know they want to come out. So keep at it. Make it a practice. Write poorly. Write awfully. Write with abandon and it may end up being really really good.
Colleen Hoover
Editors can be stupid at times. They just ignore that author’s intention. I always try to read unabridged editions, so much is lost with cut versions of classic literature, even movies don’t make sense when they are edited too much. I love the longueurs of a book even if they seem pointless because you can get a peek into the author’s mind, a glimpse of their creative soul. I mean, how would people like it if editors came along and said to an artist, ‘Whoops, you left just a tad too much space around that lily pad there, lets crop that a bit, shall we?’. Monet would be ripping his hair out.
E.A. Bucchianeri (Brushstrokes of a Gadfly, (Gadfly Saga, #1))
When reading I pretend I’m an editor, though when writing I realize I’m not.
Fierce Dolan
Editing is a kind of creative activity where, in a perfect world, an author and an editor find that elusive oneness to understand each other intuitively.
Sahara Sanders
There are plenty of bad editors who try to impose their own vision on a book. (…) A good novel editor is invisible.
Terri Windling
When an editor works with an author, she cannot help seeing into the medicine cabinet of his soul. All the terrible emotions, the desire for vindications, the paranoia, and the projection are bottled in there, along with all the excesses of envy, desire for revenge, all the hypochondriacal responses, rituals, defenses, and the twin obsessions with sex and money. It other words, the stuff of great books.
Betsy Lerner (The Forest for the Trees)
Being editors is not the best way to wealth. We all feel this now, and highwaymen are not respected any more like they used to be.
E. Nesbit (The Story of the Treasure Seekers (Bastable Children, #1))
Knowing how to tinker with a broken piece of prose until it hums is a source of contentment known by all who have mastered a worthy craft.
Carol Fisher Saller (The Subversive Copy Editor: Advice from Chicago)
​​"We edit your words, your writing, your sentences and paragraphs... but never your voice." 
Rogena Mitchell-Jones
I don't like a kind of workshop that is about editing--I don't want to sit there and be an editor. I don't want to tell someone how to "fix" a poem.
Natasha Trethewey
A picture is worth a thousand words, but the way I paint I'm going to need to contact an editor. Even if I were to abstractly paint the phrase "I love you," it would be the visual equivalent of Joyce's Ulysses. -James Lee Schmidt and Jarod Kintz
James Lee Schmidt (liQUID PROse QUOtes)
Any book without a mistake in it has had too much money spent on it.
William Collins
Be a good editor. The Universe needs more good editors, God knows.
Kurt Vonnegut Jr. (Letters)
A person who wrote badly did better than a person who does not write at all. A bad writing can be corrected. An empty page remains an empty page.
Israelmore Ayivor (How You Can Write Your Dream Book)
The first draft reveals the art; revision reveals the artist.
Michael Lee
I'd known since girlhood that I wanted to be a book editor. By high school, I'd pore over the acknowledgments section of novels I loved, daydreaming that someday a brilliant talent might see me as the person who 'made her book possible' or 'enhanced every page with editorial wisdom and insight.' Could I be the Maxwell Perkins to some future Hemingway, Fitzgerald, Wolfe?
Bridie Clark (Because She Can)
[I]n the long run it's worthwhile to see the manuscript as a text capable of improvement.
Barbara Sjoholm (An Editor's Guide to Working with Authors)
Studies have shown that we are often so worried about failure that we create vague goals, so that nobody can point the finger when we don’t achieve them. We come up with face-saving excuses, even before we have attempted anything. We cover up mistakes, not only to protect ourselves from others, but to protect us from ourselves. Experiments have demonstrated that we all have a sophisticated ability to delete failures from memory, like editors cutting gaffes from a film reel—as we’ll see. Far from learning from mistakes, we edit them out of the official autobiographies we all keep in our own heads.
Matthew Syed (Black Box Thinking: Why Some People Never Learn from Their Mistakes - But Some Do)
When you pick a partner, you pick a story. So what kind of story are you going to write? You are the editors of your life stories. Write well and edit often. And remember ... a life story is not a love story. You can love a lot more people than you can make a life with.
Esther Perel
In editing, as in life, I have found "We can discuss this" to be a reliably effective suggestion. Sometimes the other party thinks, "Oh, well, since I have a choice, I'll let it go," and sometimes, "Omigod-she wants to discuss this endlessly. I'd rather just let it go.
Carol Fisher Saller (The Subversive Copy Editor: Advice from Chicago (or, How to Negotiate Good Relationships with Your Writers, Your Colleagues, and Yourself))
Edit your author as you would be edited.
Barbara Sjoholm (An Editor's Guide to Working with Authors)
Don't be dismayed by the opinions of editors, or critics. They are only the traffic cops of the arts.
Gene Fowler
A real editor isn't just someone you work with; he's your guide.
Ariel Levy (The Rules Do Not Apply)
Learn to enjoy this tidying process. I don't like to write; I like to have written. But I love to rewrite. I especially like to cut: to press the DELETE key and see an unnecessary word or phrase or sentence vanish into the electricity. I like to replace a humdrum word with one that has more precision or color. I like to strengthen the transition between one sentence and another. I like to rephrase a drab sentence to give it a more pleasing rhythm or a more graceful musical line. With every small refinement I feel that I'm coming nearer to where I would like to arrive, and when I finally get there I know it was the rewriting, not the writing, that wont the game.
William Zinsser (On Writing Well: The Classic Guide to Writing Nonfiction)
I am the discoverer of Quantum Editing, the process whereby the amateur editor keeps being changed by the editing he does, requiring him to further edit the manuscript, changing him yet further, etc.
Matt Chatelain
Write poorly. Suck Write awful Terribly Frightfully Don't care Turn off the inner editor Let yourself write Let it flow Let yourself fail Do something crazy Write fifty thousand words in the month of November. I did it. It was fun , it was insane , it was one thousand six hundred and sixty-seven words a day. It was possible. But you have to turn off your inner critic. Off completely. Just write. Quickly. In bursts. With joy. If you can't write, run away for a few. Come back. Write again. Writing is like anything else. You won't get good at it immediately. It's a craft, you have to keep getting better. You don't get to Juilliard unless you practice. If you want to get to Carnegie Hall, practice, practice, practice. ...Or give them a lot of money. Like anything else, it takes ten thousand hours to master. Just like Malcolm Gladwell says. So write. Fail. Get your thoughts down. Let it rest. Let it marinate. Then edit. But don't edit as you type, that just slows the brain down. Find a daily practice, for me it's blogging every day. And it's fun. The more you write, the easier it gets. The more it is a flow, the less a worry. It's not for school, it's not for a grade, it's just to get your thoughts out there. You know they want to come out. So keep at it. Make it a practice. And write poorly, write awfully, write with abandon and it may end up being really really good.
Colleen Hoover (Point of Retreat (Slammed, #2))
The Encyclopedia Galactica defines a robot as a mechanical apparatus designed to do the work of a man. The marketing division of the Sirius Cybernetics Corporation defines a robot as “Your Plastic Pal Who’s Fun to Be With.” The Hitchhiker’s Guide to the Galaxy defines the marketing division of the Sirius Cybernetics Corporation as “a bunch of mindless jerks who’ll be the first against the wall when the revolution comes,” with a footnote to the effect that the editors would welcome applications from anyone interested in taking over the post of robotics correspondent. Curiously enough, an edition of the Encyclopedia Galactica that had the good fortune to fall through a time warp from a thousand years in the future defined the marketing division of the Sirius Cybernetics Corporation as “a bunch of mindless jerks who were the first against the wall when the revolution came.
Douglas Adams (The Hitchhiker's Guide to the Galaxy (Hitchhiker's Guide, #1))
One rule of the road not directly stated elsewhere in this book: “The editor is always right.” The corollary is that no writer will take all of his or her editor’s advice; for all have sinned and fallen short of editorial perfection. Put another way, to write is human, to edit is divine.
Stephen King (On Writing: A Memoir of the Craft)
As an editor, you develop a B.S. meter—an internal warning system that signals caution about journalism that doesn't feel trustworthy. Sometimes it's a quote or incident that's too perfect —a feeling I always had when reading stories by Stephen Glass in the New Republic. Sometimes it's too many errors of fact, the overuse of anonymous sources, or signs that a reporter hasn't dealt fairly with people or evidence. And sometimes it's a combination of flaws that produces a ring of falsity, the whiff of a bad egg. There's no journalist who sets off my bullshit alarm like Ron Suskind.
Jacob Weisberg
[E]verything is fiction. When you tell yourself the story of your life, the story of your day, you edit and rewrite and weave a narrative out of a collection of random experiences and events. Your conversations are fiction. Your friends and loved ones—they are characters you have created. And your arguments with them are like meetings with an editor—please, they beseech you, you beseech them, rewrite me. You have a perception of the way things are, and you impose it on your memory, and in this way you think, in the same way that I think, that you are living something that is describable. When of course, what we actually live, what we actually experience—with our senses and our nerves—is a vast, absurd, beautiful, ridiculous chaos.
Keith Ridgway
An editor doesn't just read, he reads well, and reading well is a creative, powerful act. The ancients knew this and it frightened them. Mesopotamian society, for instance, did not want great reading from its scribes, only great writing. Scribes had to submit to a curious ruse: they had to downplay their reading skills lest they antagonize their employer. The Attic poet Menander wrote: "those who can read see twice as well." Ancient autocrats did not want their subjects to see that well. Order relied on obedience, not knowledge and reflection. So even though he was paid to read as much as write messages, the scribe's title cautiously referred to writing alone (scribere = "to write"); and the symbol for Nisaba, the Mesopotamian goddess of scribes, was not a tablet but a stylus. In his excellent book A History of Reading, Alberto Manguel writes, "It was safer for a scribe to be seen not as one who interpreted information, but who merely recorded it for the public good." In their fear of readers, ancients understood something we have forgotten about the magnitude of readership. Reading breeds the power of an independent mind. When we read well, we are thinking hard for ourselves—this is the essence of freedom. It is also the essence of editing. Editors are scribes liberated to not simply record and disseminate information, but think hard about it, interpret, and ultimately, influence it.
Susan Bell (The Artful Edit: On the Practice of Editing Yourself)
Editing is a big part of organising. It's about selecting the best and letting the not-so-good go... Life is like this. There's lots of stuff that doesn't matter: things that you're 'going to do'; outdated, broken or not-so-good stuff... Be an editor every day. Constantly reassess and you'll find that the things that don't matter easily slip away.
Sorted! The ultimate guide to organising your life - once and for all
Only the writers can change or fix the past by going back to edit old works
Munia Khan
Most of these editors, as they call themselves, couldn't even effectively edit a haiku.
Frank Black
If you tell me that I have to write the story of my life, I would be very quick to tell you that God has already written it. What I have to do is to quit playing editor.
Craig D. Lounsbrough
Hermione end up with Ron. As the author told Emma Watson, guest editor for the upcoming edition of the quarterly British lifestyle magazine "Wonderland,
But the work had told upon the Editor. Work of that sort carries its penalties with it. Success means absorption, and absorption spells softening of the brain.
P.G. Wodehouse (Psmith, Journalist (Psmith, #3))
Personally, I don't plan to retire from writing. My plan is to visit a body editor, have them slap on a hot new cover, and be re-released as a new edition.
Roxanna Rose
It was like removing layers of crumpled brown paper from an awkwardly shaped parcel, and revealing the attractive present which it contained.
Diana Athill (Stet: An Editor's Life)
Protect yourself: There are more than enough fake (and bad) editors out there. The more you know about grammar and
Ashlyn Forge (Self-Editing On A Penny: A Comprehensive Guide)
A book that is made up of only great sentences is not necessarily a great book.
Mokokoma Mokhonoana
encouragement. Becky Johnson of Hot Tree Editing has been a miracle worker, and this updated version goes to prove how well an author and editor can work together to create a wonderful story. I am blessed
Sheila Kell (HIS Desire (Hamilton Investigation & Security: HIS Series #1))
It’s funny how we think life works a certain way because of TV and movies. Most people don’t really think about how scripts are edited and how people get to practice their lines and rehearse. If one doesn’t get it right they get to redo the scene until they do. In real life what’s missing or not working only comes up when we’re going along full blast. We end up being the editors of our lives only while we’re running in real time.
Mark Kendrick (Desert Sons (Desert Sons, #1))
You only have one chance to make a great first impression. You make that first impression with a great cover, an intriguing synopsis, and professional editing. Let my inner editor polish your ​manuscript ​the 'write' way.
Rogena Mitchell-Jones
In this book industry we have different kinds of birds; excepting one; all having in common that they are ONLY watchers and squawkers at the pond. We have readers, editors, reviewers, interviewers, publishers, marketers, websites, monopolies, and writers. All are better compensated than the writers. Yet the system is totally upside down as those better rewarded are all derivative of what is primary; the writer. Without that person the readers have nothing to read; the editors have nothing to edit; the reviewers have nothing to review; the interviewers have no one to interview; the publishers have nothing to publish; the marketers have nothing to market; the website cannot adware infect ‘members,’ and the legalized monopolies have nothing to monopolize. So, in effect, this is where the troll steps in. He’s kind of a writer; but he’s not taking the time to churn out masterpieces. He’s just effortlessly telling the vultures exactly what they are.
Edward Drobinski (Interview With the Troll)
The thing you don't realize, my dear girl, is that I have been forced by the economic realities to start taking publishing very seriously. For example, it has been brought to my attention that our ability to continue to pay the hordes of people employed by M&S (God knows how many mouths have to be fed) depends directly on the number of copies of your new book [Life Before Man] that we are able to sell between September and Christmas. In past I have been able to treat this whole thing as a fun game. I have never been troubled by the cavalier explanations about lost manuscripts and fuck-ups of various sorts. Now I have learned that this is a deadly serious game. I don't laugh at jokes about the Canadian postal service. I cry. (in a letter to author Margaret Atwood, dated February, 1979)
Jack McClelland (Imagining Canadian Literature: The Selected Letters)
Why isn't the manuscript ready? Because every book is more work than anyone intended. If authors and editors knew, or acknowledged, how much work was ahead, fewer contracts would be signed. Each book, before the contract, is beautiful to contemplate. By the middle of the writing, the book has become, for the author, a hate object. For the editor, in the middle of editing, it has become a two-ton concrete necklace. However, both author and editor will recover the gleam in their eyes when the work is completed, and see the book as the masterwork it really is.
Samuel S. Vaughan (Editors on Editing: What Writers Need to Know about What Editors Do)
On the Hunger Games Fan Race fail and the portrayal of POC in fantasy literature: It is as if the POC in the text are walking around with a great big red sign over them for some editors and it reads I AM NOT A REAL CHARACTER. I AM A PROBLEM YOU MUST DEAL WITH. The white characters are permitted to saunter about with their physical descriptions hanging out all over the place, but best not make mention of dark skin or woolly/curly hair or dark eyes (Unless, of course, that character is white. None of my white-skinned dark-eyed characters had any problem being described as such. And I’m pretty sure that Sól’s curly hair never gave anyone a single pause for thought.) As I said, I understand the desire not to define a POC simply by their physical attributes, and I understand cutting physical descriptions if no other character is described physically – but pussyfooting about in this manner with POC is doing nothing but white wash the characters themselves. It’s already much too hard to get readers to latch onto the fact that some characters may not be caucasian, why must we dance about their physical description as if it were some kind of shameful dirty little secret. You know what it reminds me of? It reminds me of the way homosexuality used to only ever be hinted at in texts. It was up to the reader to ‘read between the lines’ or ‘its there if you look for it’ and all that total bullshit which used to be the norm.
Celine Kiernan
The trouble is, very few people, even in the least provincial communities, seem to understand that the motive for fiction, or the impulse from which it arises, is a serious one. They think of fiction as having no value except that of amusing and passing the time; and so it is impossible for them to understand why it could not just as well be pleasant and pretty.
Maxwell E. Perkins (Editor to Author: The Letters of Maxwell E. Perkins)
But after the war, when editors like Martin Durk came to prominence by trumpeting the timely death of the novel, Parish opted for a reflective silence. He stopped taking on projects and watched with quiet reserve as his authors died off one by one--at peace with the notion that he would join them soon enough in that circle of Elysium reserved for plot and substance and the judicious use of the semicolon.
Amor Towles (Rules of Civility)
This Introduction to the Introduction to the New Edition is a highly significant one in the history of Introductions. Its presence on these pages means that this book has achieved the World Record for the Number of Introductions in a Book of This Nature. With the addition of this Introduction to the Introduction to the New Edition, The Salmon of Doubt can now claim to have no less than three Introductions, one Prologue, and one Editor’s Note.
Douglas Adams (The Salmon of Doubt (Dirk Gently, #3))
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.
Carol Fisher Saller (The Subversive Copy Editor: Advice from Chicago (or, How to Negotiate Good Relationships with Your Writers, Your Colleagues, and Yourself))
Woolf drew on her memories of her holidays in Cornwall for To the Lighthouse, which was conceived in part as an elegy on her parents. Her father was a vigorous walker and an Alpinist of some renown, a member of the Alpine Club and editor of the Alpine Journal from 1868 to 1872; he was the first person to climb the Schreckhorn in the Alps and he wrote on Alpine pleasures in The Playground of Europe (1871). By the time he married Julia Duckworth in 1878, however, a more sedentary Leslie Stephen was the established editor of the Cornhill Magazine, from which he later resigned to take up the editorship of the Dictionary of National Biography in 1882, the year of Woolf ’s birth. Stephen laboured on this monumental Victorian enterprise until 1990, editing single-handed the first twenty-six volumes and writing well over 300 biographical entries. He also published numerous volumes of criticism, the most important of which were on eighteenth-century thought and literature.
Jane Goldman (The Cambridge Introduction to Virginia Woolf)
THOMAS JEFFERSON LEFT POSTERITY an immense correspondence, and I am particularly indebted to The Papers of Thomas Jefferson, published by Princeton University Press and first edited by Julian P. Boyd. I am, moreover, grateful to the incumbent editors of the Papers, especially general editor Barbara B. Oberg, for sharing unpublished transcripts of letters gathered for future volumes. The goal of the Princeton edition was, and continues to be, “to present as accurate a text as possible and to preserve as many of Jefferson’s distinctive mannerisms of writing as can be done.” To provide clarity and readability for a modern audience, however, I have taken the liberty of regularizing much of the quoted language from Jefferson and from his contemporaries. I have, for instance, silently corrected Jefferson’s frequent use of “it’s” for “its” and “recieve” for “receive,” and have, in most cases, expanded contractions and abbreviations and followed generally accepted practices of capitalization.
Jon Meacham (Thomas Jefferson: The Art of Power)
Look at an offending edit and figure out why the editor thought the text needed help. There will usually be something wrong that needs fixing: after all, if the editor misunderstoodyou, other readers may, too. If you don't like the editor's solution, figure out a better one and write it in. If you are convinced that the original wording is the way you want it, mark a row of dots under everything you want restored and write "stet" beside it. And unless you want to go another round on the issue with the editor, pencil in a brief explanation.
Carol Fisher Saller (The Subversive Copy Editor: Advice from Chicago (or, How to Negotiate Good Relationships with Your Writers, Your Colleagues, and Yourself))
Editing is perhaps the only one of the film arts that has no historical antecedents,” says Hirsch. “Editing is the choice of the images, their succession, and their duration. An editor is dealing with time, which is more of a concern in the musical arts. Only film and music require that an audience comprehend the details of a work of art over a given period of time. You can read a novel in one sitting or you can take six months to read it. You can look at the edges or at the center of a painting; you’re not compelled to experience it in any order.
J.W. Rinzler (The Making of Star Wars: The Empire Strikes Back (Enhanced Edition))
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)
Soar (Yours, poetically: Special Deluxe Edition of Selected Poems and Quotes)
You have got to stop writing in the library books," Tyson said. "I will if you stop looking at me like I just kicked a kitten," I replied, sliding the offending book away from him. "I couldn't help it. Someone needs to edit these things." He sat back in the library chair. "Yeah, they're called editors and they already did that." I snorted. "Please. I could drive a truck through the holes in your education." "We're here about your education, not mine." He actually lowered his forehead to bang it on the table. The librarian sent me a stern glance. "What?" I said. "I'm not the one giving myself a lobotomy.
Alyxandra Harvey (Blood Prophecy (Drake Chronicles, #6))
Perhaps most important, they both require revision. And revision usually means collaboration. Whenever I talk to students, one of the key points I try to make is that their teachers aren’t crazy or cruel to make them edit and revise their papers. Author Jonathan Rogers gave me that advice on things to talk about at school visits. Not only do the kids need to learn revision, they need to hear from someone else that their teachers are right. The thing the Resistance doesn’t want you to know is that revision is the fun part. My brother, an author and playwright, is also a formidable editor. He understands story as well as anyone I know, and he delights in revision.
Andrew Peterson (Adorning the Dark: Thoughts on Community, Calling, and the Mystery of Making)
To The Critics Suicide has made more than one mediocre author glorious before he's able to achieve that sobering "second edition" making his a suicide that waits until it's justified. But I've taken more precautions against to Suicide which is to survive in the face of failure. Success is mostly editing, that's what makes things nice. To edit is the other great Power; thus this novel started at age 30, continued at 50 and its 73, has finally achieve supremacy: a person of Good Taste as the third author and as a result the editor of all three. In the end I'll be the author of a letter to the critics a sort of "open letter" but for the living: suicide is not something you can edit out.
Macedonio Fernández
Create mode is when you’re imaginative, creative, and open to new ideas. Edit mode is when you are logical, regulated, and analytical. Most of us constantly switch back and forth between the two within a given piece of work, like when we write an email. You write a small part, read it, make edits, and then write some more. The major issue is that your editor brain gets in the way of your creator brain. It stops the flow, which can remove the potential of amazing thoughts that you didn’t even know exist in your head from ever coming out. You need these thoughts to surface during this experiment, but your editor brain can get in the way because it’s too focused on making everything right or perfect. Thinking puts your editor brain into the driver’s seat.
Pat Flynn (Will It Fly?: How to Test Your Next Business Idea So You Don't Waste Your Time and Money)
First of all, please, please, don´t go publish until you are one hundred percent sure you are doing a great job, the best that you may deliver. For in this publishing media it´s easy to get it all wrong when you are just starting. Secondly, find a good editor, or at least a second opinion. You know, four eyes read better than two. You will regret later on for not having a good editor to go through your writing, or having a great artist to do the best cover for your book. Because if there is something I learned during these years in the publishing market it is to never ever underestimate the power of good editing. And my third piece will be to advice about a good image: the saying “never judge a book by its cover” was created by a lazy author who didn´t give much thought of what really works in the marketing of both fiction and nonfiction.
Ana Claudia Antunes (How to Make a Book (How-To))
The war is not over, however. Even organisations like Wikipedia succumbed to the authoritarian twitch, appointing editors with special privileges who could impose their own prejudices upon certain topics. The motive was understandable – to stop entries being taken over by obsessive nutters with weird views. But of course what happened, just as in the French and Russian revolutions, was that the nutters got on the committee. The way to become an editor was simply to edit lots of pages, and thereby gain brownie points. Some of the editors turned into ruthlessly partisan dogmatists, and the value of a crowd-sourced encyclopedia was gradually damaged. As one commentator puts it, Wikipedia is ‘run by cliquish, censorious editors and open to pranks and vandalism’. It is still a great first port of call on any uncontroversial topic, but I find Wikipedia cannot be trusted on many subjects.
Matt Ridley (The Evolution of Everything: How New Ideas Emerge)
No one trans story is better or inherently more “radical” than another, but that hasn’t stopped cisgender media culture from deeming certain trans stories to be more valuable than others. Those of us who don’t fit the classical narrative end up either having our stories edited and reedited until they fit, or end up having our voices silenced. And that’s fucked. At its best, this narrative is just an oversimplification of the trans community. At its worst, this narrative is used as a tool—reinforced by cisgender editors, curators, movement leaders, and gatekeepers—that continues to pressure trans people into fitting into one of two binary genders. By showing how desirable it is to be gender conforming and “pass” as a man or as a woman, this narrative reiterates the idea that gender nonconforming trans people are less-than and should be lucky to be treated as the gender with which we identify.
Jacob Tobia (Sissy: A Coming-of-Gender Story)
p.cm. Includes indexes.ISBN-13: 978-0-7360-6278-7 (soft cover) ISBN-10: 0-7360-6278-5 (soft cover) 1. Hatha yoga.2. Human anatomy.I.Title.RA781.7. K356 2007 613.7’046--dc22 2007010050 ISBN-10: 0-7360-6278-5 (print) ISBN-13: 978-0-7360-6278-7 (print) ISBN-10: 0-7360-8218-2 (Adobe PDF) ISBN-13: 978-0-7360-8218-1 (Adobe PDF) Copyright © 2007 by The Breathe Trust All rights reserved. Except for use in a review, the reproduction or utilization of this work in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including xerography, photocopying, and recording, and in any information storage and retrieval system, is forbidden without the written permission of the publisher. Acquisitions Editor: Martin Barnard Developmental Editor: Leigh Keylock Assistant Editor: Christine Horger Copyeditor: Patsy Fortney Proofreader: Kathy Bennett Graphic Designer: Fred Starbird Graphic Artist: Tara Welsch Original Cover Designer: Lydia Mann Cover Revisions: Keith Blomberg Art Manager: Kelly Hendren Project Photographer: Lydia Mann Illustrator (cover and interior): Sharon Ellis Printer: United Graphics Human Kinetics books are available at special discounts for bulk purchase. Special editions or book excerpts
Every entry, whether revised or reviewed, goes through multiple editing passes. The definer starts the job, then it’s passed to a copy editor who cleans up the definer’s work, then to a bunch of specialty editors: cross-reference editors, who make sure the definer hasn’t used any word in the entry that isn’t entered in that dictionary; etymologists, to review or write the word history; dating editors, who research and add the dates of first written use; pronunciation editors, who handle all the pronunciations in the book. Then eventually it’s back to a copy editor (usually a different one from the first round, just to be safe), who will make any additional changes to the entry that cross-reference turned up, then to the final reader, who is, as the name suggests, the last person who can make editorial changes to the entry, and then off to the proofreader (who ends up, again, being a different editor from the definer and the two previous copy editors). After the proofreaders are done slogging through two thousand pages of four-point type, the production editors send it off to the printer or the data preparation folks, and then we get another set of dictionary pages (called page proofs) to proofread. This process happens continuously as we work through a dictionary, so a definer may be working on batches in C, cross-reference might be in W, etymology in T, dating and pronunciation in the second half of S, copy editors in P (first pass) and Q and R (second pass), while the final reader is closing out batches in N and O, proofreaders are working on M, and production has given the second set of page proofs to another set of proofreaders for the letter L. We all stagger our way through the alphabet until the last batch, which is inevitably somewhere near G, is closed. By the time a word is put in print either on the page or online, it’s generally been seen by a minimum of ten editors. Now consider that when it came to writing the Collegiate Dictionary, Eleventh Edition, we had a staff of about twenty editors working on it: twenty editors to review about 220,000 existing definitions, write about 10,000 new definitions, and make over 100,000 editorial changes (typos, new dates, revisions) for the new edition. Now remember that the 110,000-odd changes made were each reviewed about a dozen times and by a minimum of ten editors. The time given to us to complete the revision of the Tenth Edition into the Eleventh Edition so production could begin on the new book? Eighteen months.
Kory Stamper (Word by Word: The Secret Life of Dictionaries)
We copy editors sometimes get a reputation for wanting to redirect the flow, change the course of the missile, have our way with a piece of prose. The image of the copy editor is of someone who favors a rigid consistency, a mean person who enjoys pointing out other people's errors, a lowly person who is just starting out on her career in publishing and is eager to make an impression, or, at worst, a bitter, thwarted person who wanted to be a writer and instead got stuck dotting the i's and crossing the t's and otherwise advancing the careers of other writers. I suppose I have been all of these. But good writers have a reason for doing things the way they do them, and if you tinker with their work ,taking it upon yourself to neutralize a slightly eccentric usage or zap a comma or sharpen the emphasis of something that the writer was deliberately keeping obscure, you are not helping. In my experience, the really great writers enjoy the editorial process. They weigh queries, and they accept or reject the for good reasons. They are not defensive. The whole point of having things read before publication is to test their effect on a general reader. You want to make sure when you go out there that the tag on the back of your collar isn't poking up—unless, of course, you are deliberately wearing your clothes inside out.
Mary Norris
Why, sir, in the beginning we appointed all our worst generals to command the armies, and all our best generals to edit the newspapers. As you know, I have planned some campaigns and quite a number of battles. I have given the work all the care and thought I could, and sometimes, when my plans were completed, as far as I could see, they seemed to be perfect. But when I have fought them through, I have discovered defects and occasionally wondered I did not see some of the defects in advance. When it was all over, I found by reading a newspaper that these best editor generals saw all the defects plainly from the start. Unfortunately, they did not communicate their knowledge to me until it was too late.” Then, after a pause, he added, with a beautiful, grave expression I can never forget: “I have no ambition but to serve the Confederacy, and do all I can to win our independence. I an willing to serve in any capacity to which the authorities may assign me. I have done the best I could in the field, and have not succeeded as I could wish. I am willing to yield my place to these best generals, and I will do my best for the cause in editing a newspaper.” In the same strain he once remarked to one of his generals: “Even as poor a soldier as I am can generally discover mistakes after it is all over. But if I could only induce these wise gentlemen who see them so clearly beforehand to communicate with me in advance, instead of waiting until the evil has come upon us, to let me know that they knew all the time, it would be far better for my reputation, and (what is of more consequence) far better for the cause.
Robert E. Lee
The black magic that evil-minded people of all religions practice for their ugly and inhuman motives. The modern world ignores that and even do not believe in it; however, it exists, and it sufficiently works too. When I was an assistant editor, in an evening newspaper, I edited and published such stories. As a believer, I believe that. However, not that can affect everyone; otherwise, every human would have been under the attack of it. No one can explain and define black magic and such practices. The scientists today fail to recognize such a phenomenon; therefore, routes are open for black magic to proceeds its practices without hindrances. One can search online websites, and YouTube; it will realize a large number of the victims of that the evil practice by evil-minded peoples of various societies. The magic, black magic, or evil power exists, and it works too. Evil power causes, effects, and appears, as diseases and psychological issues since no one can realize, trace, and prove that horror practice; it is the secret and privilege of the evil-minded people that law fails to catch and punish them, for such crime. I exemplify here, the two events briefly, one a very authentic that I suffered from it and another, a person, who also became a victim of it. The first, when I landed on the soil of the Netherlands, I thought, I was in the safest place; however, within one year, I faced the incident, which was a practice of my family, involving my brothers, my country mates, who lived in the Netherlands. The most suspected were the evil-minded people of the Ahmadiyya movement of Surinam people, and possibly my ex-wife and a Pakistani couple. I had seen the evidence of the black magic, which my family did upon me, but I could not trace the reality of other suspected ones that destroyed my career, future, health, and even life. The second, a Pakistani, who lived in Germany, for several years, as an active member of the Ahmadiyya Movement, he told me his story briefly, during a trip to London, attending a literary gathering. He received a gold medal for his poetry work, and also he served Ahmadiyya TV channel; however when he became a real Muslim; as a result, Ahmadiyya worriers turned against him. When they could not force him to back in their group, they practiced the devil's work to punish him. The symptoms of magic were well-known to me that he told me since I bore that on my body too. The multiple other stories that reveal that the Ahmadiyya Movement, possibly practices black magic ways, to achieve its goals. As my observation, they involve, to eliminate Muslim Imams and scholars, who cause the failure of that new religion and false prophet, claiming as Jesus. I am a victim of their such practices. Social Media and such websites are a stronghold of their activities. In Pakistan, they are active, in the guise of the real Muslims, to dodge the simple ones, as they do in Europe and other parts of the word. Such possibility and chance can be possible that use of drugs and chemicals, to defeat their opponents, it needs, wide-scale investigation to save, the humanity. The incident that occurred to me, in the Netherlands, in 1980, I tried and appealed to the authorities of the Netherlands, but they openly refused to cooperate that. However, I still hope and look forward to any miracle that someone from somewhere gives the courage to verify that.
Ehsan Sehgal
Anna Chapman was born Anna Vasil’yevna Kushchyenko, in Volgograd, formally Stalingrad, Russia, an important Russian industrial city. During the Battle of Stalingrad in World War II, the city became famous for its resistance against the German Army. As a matter of personal history, I had an uncle, by marriage that was killed in this battle. Many historians consider the battle of Stalingrad the largest and bloodiest battle in the history of warfare. Anna earned her master's degree in economics in Moscow. Her father at the time was employed by the Soviet embassy in Nairobi, Kenya, where he allegedly was a senior KGB agent. After her marriage to Alex Chapman, Anna became a British subject and held a British passport. For a time Alex and Anna lived in London where among other places, she worked for Barclays Bank. In 2009 Anna Chapman left her husband and London, and moved to New York City, living at 20 Exchange Place, in the Wall Street area of downtown Manhattan. In 2009, after a slow start, she enlarged her real-estate business, having as many as 50 employees. Chapman, using her real name worked in the Russian “Illegals Program,” a group of sleeper agents, when an undercover FBI agent, in a New York coffee shop, offered to get her a fake passport, which she accepted. On her father’s advice she handed the passport over to the NYPD, however it still led to her arrest. Ten Russian agents including Anna Chapman were arrested, after having been observed for years, on charges which included money laundering and suspicion of spying for Russia. This led to the largest prisoner swap between the United States and Russia since 1986. On July 8, 2010 the swap was completed at the Vienna International Airport. Five days later the British Home Office revoked Anna’s citizenship preventing her return to England. In December of 2010 Anna Chapman reappeared when she was appointed to the public council of the Young Guard of United Russia, where she was involved in the education of young people. The following month Chapman began hosting a weekly TV show in Russia called Secrets of the World and in June of 2011 she was appointed as editor of Venture Business News magazine. In 2012, the FBI released information that Anna Chapman attempted to snare a senior member of President Barack Obama's cabinet, in what was termed a “Honey Trap.” After the 2008 financial meltdown, sources suggest that Anna may have targeted the dapper Peter Orzag, who was divorced in 2006 and served as Special Assistant to the President, for Economic Policy. Between 2007 and 2010 he was involved in the drafting of the federal budget for the Obama Administration and may have been an appealing target to the FSB, the Russian Intelligence Agency. During Orzag’s time as a federal employee, he frequently came to New York City, where associating with Anna could have been a natural fit, considering her financial and economics background. Coincidently, Orzag resigned from his federal position the same month that Chapman was arrested. Following this, Orzag took a job at Citigroup as Vice President of Global Banking. In 2009, he fathered a child with his former girlfriend, Claire Milonas, the daughter of Greek shipping executive, Spiros Milonas, chairman and President of Ionian Management Inc. In September of 2010, Orzag married Bianna Golodryga, the popular news and finance anchor at Yahoo and a contributor to MSNBC's Morning Joe. She also had co-anchored the weekend edition of ABC's Good Morning America. Not surprisingly Bianna was born in in Moldova, Soviet Union, and in 1980, her family moved to Houston, Texas. She graduated from the University of Texas at Austin, with a degree in Russian/East European & Eurasian studies and has a minor in economics. They have two children. Yes, she is fluent in Russian! Presently Orszag is a banker and economist, and a Vice Chairman of investment banking and Managing Director at Lazard.
Hank Bracker
In 1933 a German branch of the International Society was founded with Matthias Göring as president; needless to say it was gleichgeschaltet and Göring ensured that the rest of the society followed suit. Jung countered Göring by redrafting the society’s rules, allowing Jewish members who had been forced to resign from the German branch to join as individuals. As editor of the society’s journal, Jung made sure that work by Jewish members continued to be published, and that work by Jewish psychologists was reviewed. But as the journal was published in Germany, Jung had little hands-on control, and was enraged when Göring inserted a pro-Nazi statement in an issue in 1933, endorsing Mein Kampf as a core text for all psychotherapists and obliging all members to declare their loyalty to the Fuehrer. The statement was supposed to be included in only the German edition of the journal, but Göring overstepped Jung—something he did more than once—and Jung was furious to find his name among the statement’s endorsers.
Gary Lachman (Jung the Mystic: The Esoteric Dimensions of Carl Jung's Life & Teachings)
But above all, an author must write passionately and edit passionately.
Paul Collins
ANNALS OF LANGUAGE WORD MAGIC How much really gets lost in translation? BY ADAM GOPNIK Once, in a restaurant in Italy with my family, I occasioned enormous merriment, as a nineteenth-century humorist would have put it, by confusing two Italian words. I thought I had, very suavely, ordered for dessert fragoline—those lovely little wild strawberries. Instead, I seem to have asked for fagiolini—green beans. The waiter ceremoniously brought me a plate of green beans with my coffee, along with the flan and the gelato for the kids. The significant insight the mistake provided—arriving mere microseconds after the laughter of those kids, who for some reason still bring up the occasion, often—was about the arbitrary nature of language: the single “r” rolled right makes one a master of the trattoria, an “r” unrolled the family fool. Although speaking feels as natural as breathing, the truth is that the words we use are strange, abstract symbols, at least as remote from their objects as Egyptian hieroglyphs are from theirs, and as quietly treacherous as Egyptian tombs. Although berries and beans may be separated by a subtle sound within a language, the larger space between like words in different languages is just as hazardous. Two words that seem to indicate the same state may mean the opposite. In English, the spiritual guy is pious, while the one called spirituel in French is witty; a liberal in France is on the right, in America to the left. And what of cultural inflections that seem to separate meanings otherwise identical? When we have savoir-faire in French, don’t we actually have something different from “know-how” in English, even though the two compounds combine pretty much the same elements? These questions, about the hidden traps of words and phrases, are the subject of what may be the weirdest book the twenty-first century has so far produced: “Dictionary of Untranslatables: A Philosophical Lexicon,” a thirteen-hundred-page volume, originally edited in French by the French philologist Barbara Cassin but now published, by Princeton University Press, in a much altered English edition, overseen by the comp-lit luminaries Emily Apter, Jacques Lezra, and Michael Wood. How weird is it? Let us count the ways. It is in part an anti-English protest, taking arms against the imperializing spread of our era’s, well, lingua franca—which has now been offered in English, so that everyone can understand it. The book’s presupposition is that there are significant, namable, untranslatable differences between tongues, so that, say, “history” in English, histoire in French, and Geschichte in German have very different boundaries that we need to grasp if we are to understand the texts in which the words occur. The editors, propelled by this belief, also believe it to be wrong. In each entry of the Dictionary, the differences are tracked, explained, and made perfectly clear in English, which rather undermines the premise that these terms are untranslatable, except in the dim sense that it sometimes takes a few words in one language to indicate a concept that is more succinctly embodied in one word in another. Histoire in French means both “history” and “story,” in a way that “history” in English doesn’t quite, so that the relation between history and story may be more elegantly available in French. But no one has trouble in English with the notion that histories are narratives we make up as much as chronicles we discern. Indeed, in the preface, the editors cheerfully announce that any strong form of the belief to which their book may seem to be a monument is certainly false: “Some pretty good equivalencies are always available. . . . If there were a perfect equivalence from language to language, the result would not be translation; it would be a replica. . . . The constant recourse to the metaphor of loss in translation is finally too easy.” So their Dictionary is a self-exploding book,
A corrections box such as which appears in many top US or British papers to rectify misspellings, mistaken dates, faulty identifications and so forth, is generally unheard of here... Once I pointed out to Messagero night editor that the first edition he was putting out had misspelled the name of town where the US president was holding a summit. “Oh, no one will notice,” he shrugged rather than change it.
Sari Gilbert (My Home Sweet Rome: Living (and Loving) in the Eternal City)
Who am I editing for?” One of my principles is that there is no typical anybody; every reader is different. I edit for myself and I write for myself. I assume that if I consider something interesting or funny, a certain number of other people will too. If they don’t, they have two inalienable rights—they can fire the editor and they can stop reading the writer. Meanwhile I draw on two sources of energy that I commend to anyone trying to survive in this vulnerable craft: confidence and ego. If you don’t have confidence in what you’re doing you might as well not do it.
William Zinsser (Writing to Learn: How to Write--And Think--Clearly about Any Subject at All)
Each season in life is a new edition that corrects the preceding one, which will in turn be corrected again, until we reach the definitive edition, which the editor donates for free to the worms.
Machado de Assis
The words of God’s messengers are treasured by the community to which they are given, perhaps more in later years than when the messenger was alive. In order to preserve the memory for posterity, editors – under the direction of the Spirit – compiled and published new editions of the messenger’s words and works. Sometimes, as in the book of Jeremiah, they placed the messenger’s own words within a historical framework, providing a kind of “glue” that gives consistency to the whole.
Alden Thompson (Inspiration: Hard Questions, Honest Answers)
The evidence for editing and compiling is most obvious in Proverbs and Jeremiah, thus establishing the principle that the words of inspired messengers may in fact be handled in such a manner. Once the principle has been established, we need not be alarmed if we find more subtle clues of editing in other biblical books. Editors may have been at work on them as well. Why not?
Alden Thompson (Inspiration: Hard Questions, Honest Answers)
It is free speech, just edited into defeat.
Brian Spellman
Fantasy and science fiction are closely allied in publishing, since both categories posit worlds that are not reality. The SF editor is most often a fantasy editor as well. Yet the most useful view for the working editor is to consider fantasy as conservative and pastoral, and SF as radical, technological, urban. There is a spectrum of variations, especially considering that for at least the last half century, many of the same authors have written both, a legacy, again, of the pulp magazines, which published both in the early twentieth century, before the battle lines were clearly drawn.
David G. Hartwell (Editors on Editing: What Writers Need to Know about What Editors Do)
Remember that the first rule when editing a book is to DO NO HARM.
Shawn Coyne (The Story Grid: What Good Editors Know)
One of the most commonly used American history textbooks is The Americans: Reconstruction to the 21st Century. A thousand-page volume, published by Holt McDougal, a division of the publishing giant Houghton Mifflin Harcourt, it lists several well-respected professors as authors and editors. The 2012 edition has this to say about residential segregation in the North: “African Americans found themselves forced into segregated neighborhoods.” That’s it. One passive voice sentence. No suggestion of who might have done the forcing or how it was implemented.
Richard Rothstein (The Color of Law: A Forgotten History of How Our Government Segregated America)
Even with my focused intention to be eloquent and reflect perfect grammar, syntax, and punctuation in my writing, I still flub up occasionally. Thank heavens for spell check, auto-correct, and the brilliance of my amazing editor Elizabeth Dixon. None of us is perfect, but our editing needs to be as thorough as possible if we hope to make a great impression.
Susan C. Young (The Art of Communication: 8 Ways to Confirm Clarity & Understanding for Positive Impact(The Art of First Impressions for Positive Impact, #5))
I am still actively engaged at the job I like best, which is working with authors and promoting them. But, at this time in my life I have made it a rule to cosset myself by refusing to spend my time on things I plain straight don't like. Our list is a distinguished one. We have managed to keep free of the current phenomenon of big-business publishing; the book stores and our own salesmen expect us to give them books we believe in.
John C. Farrar (Editors on Editing: What Writers Need to Know about What Editors Do)
The introduction to the original book as I found it in Greece contains many interesting points, since it shows that educators in foreign countries, notably in Germany, had come to the same conclusion with our best American teachers. The editor of the little Greek reading-book says: "In editing this work we have made use not only of Homer's 'Odyssey,' but also of that excellent reader which is used in the public schools of Germany, Willman's 'Lesebuch aus Homer.' We have divided the little volume into three parts, the first of which gives a short resumé of the war against Troy and the destruction of that city, the second the wanderings of Odysseus till his arrival in Ithaca, the third his arrival and the killing of the wooers. We have no apology to make in presenting this book to the public as a school-book, since many people superior to us have shown the need of such books in school-work. The new public schools, as is well known, have a mission of the highest importance. They do not aim, as formerly, at absolute knowledge pounded into the heads of children in a mechanical way. Their aim is the mental and ethical development of the pupils. Reading and writing lead but half way to this goal. With all nations the readers used in the public schools are a collection of the noblest thoughts of their authors." The Greek editor had never read the inane rat and cat stories of American school "readers" when he wrote that.
Homer (Odysseus, the Hero of Ithaca Adapted from the Third Book of the Primary Schools of Athens, Greece)
Editing a written text is a collaborative enterprise that commences with the other parties commenting up the author’s initial ideas and it can include technical assistance in correction of grammatical mistakes, misspellings, poorly structured sentences, vague or inconsistent statements, and correcting errors in citations. Editing is as much as an art form as writing a creative piece of literature. A good editor is a trusted person whom instructs the writer to speak plainly and unabashedly informs the writer when they write absolute gibberish. Perhaps the most successful relationship between a writer and an editor is the storied relationship shared by Thomas Wolfe and his renowned editor, Maxwell Perkins. By all accounts, the prodigiously talented and mercurial Wolfe was hypersensitive to criticism. Perkins provided Wolfe with constant reassurance and substantially trimmed the text of his books. Before Perkins commenced line editing and proofreading Wolfe’s bestselling autobiography Look Homeward, Angel,’ the original manuscript exceeded 1,100 pages. In a letter to Maxwell Perkins, Thomas Wolfe declared that his goal when writing “Look Homeward, Angel,” was “to loot my life clean, if possible of every memory which a buried life and the thousand faces of forgotten time could awaken and to weave it into a … densely woven web.” After looting my own dormant memories by delving into the amorphous events that caused me to lose faith in the world and assembling the largely formless mulch into a narrative manuscript of dubious length, I understand why a writer wishes to thank many people for their assistance, advice, and support in publishing a book.
Kilroy J. Oldster (Dead Toad Scrolls)
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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
Before Perkins nobody at Scribners had edited so boldly or closely as he did Fitzgerald, and some of the older editors considered the practice questionable. They liked Max and sensed his ability, but they did not always understand him. In small ways as well as large, Max was different.
A. Scott Berg (Max Perkins: Editor of Genius)
here that he learns of the disappointment of Ana’s best friend, Kate, editor of the student newspaper, about not having original photos to illustrate the article. To see Ana again, Grey agrees to a photo shoot, and then invites the young woman out for a drink. A few hours after their date, she receives an original edition of Tess of the d’Urbervilles by Thomas
Bright Summaries (Fifty Shades of Grey Trilogy by E.L. James (Book Analysis): Detailed Summary, Analysis and Reading Guide (BrightSummaries.com))
Fine. I don’t have the time or the inclination to edit erotica, even good erotica, if there is such an animal. I’m not the only editor here. Give it to Thomas Finley.” Zach named his least favorite coworker, the one who’d given him his nickname. “Or Angie Clark even.” “Finley? That pansy? He’d make a pass at Sutherlin, and she’d eat him alive. If you punched him in the face, he wouldn’t even know how to bleed right.” Zach nearly laughed in agreement before remembering he was fighting with J.P.
Tiffany Reisz (The Siren (The Original Sinners, #1))
Every writer, of course, has very specific ideas about editors. But writers seldom get the last word on anything.
Terry McDonell (The Accidental Life: An Editor's Notes on Writing and Writers)
Last, and perhaps most important, professional services socialize individuals in ways that are not conducive to their ability to contribute in other ways. All of us, and particularly young people, have a tendency to view ourselves and our natures as static: you’ll choose to do something for a few years, and you’ll still be the same you. This isn’t the case. Spending your twenties traveling four days a week, interviewing employees, and writing detailed reports on how to cut costs will change you, as will spending years editing contracts and arguing about events that will never come to pass, or years producing Excel spreadsheets and moving deals along. After a while, regardless of your initial motivations, your lifestyle and personality will change to fit your role. You will become a better dispenser of well-presented recommendations, or editor of contracts, or generator of financial projections. And you will in all likelihood become less good at other things. You will not be the same person you were when you started.
Andrew Yang (Smart People Should Build Things: How to Restore Our Culture of Achievement, Build a Path for Entrepreneurs, and Create New Jobs in America)
He ate a ghastly blutwurst in the dining car, finished Bartha, managed to buy a copy of Est, the evening edition brought in from Budapest, at the station buffet in Brno. Clearly, political life was heating up. Two members of parliament had come to blows. At a workers’ march in the Tenth District, bricks thrown, people arrested. To the Editor. Sir: How can we let these liberal pansies run our lives? An editorial called for “strength, firmness, singleness of purpose. The world is changing, Hungary must change with it.” A coffeehouse by the university had burned down. TENS OF THOUSANDS CHEER HITLER SPEECH IN REGENSBURG. With photograph, on page one. Here they come, Morath thought.
Alan Furst (Kingdom of Shadows (Night Soldiers, #6))
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The mostly copy edits of copy editors fail to qualify the language, and grammar standards since the copy editors, even change the writing style of the authors; it falls under censorship and destruction of opinion.
Ehsan Sehgal
Everyone thinks alchemy is dead, but alchemists live among us—they are called editors: adept in the art of transformation, they practice arcane methods of selection, deletion and synthesis to take what is base and produce gold.
Anthony Marais
Even at the depths of the Depression, editors and business leaders insisted that jobs were available if men would only hunt for them.
Desmond Morton (A Short History of Canada: Seventh Edition)
In my study, next to my desk, is a locked bookcase that contains a collection of volumes I value more than any of the hundreds of other books that fill a multitude of shelves in our home. Of these precious publications, the most prized and well-guarded is a slim first edition of 104 pages, simply titled Jungle Stories by Jim Corbett. The cover is of plain brown paper, with no illustrations or colouring. This thin little book was privately printed by Corbett, for family and friends, at the London Press in Nainital in 1935. Only a hundred copies were produced, of which very few remain. My copy came to me through my parents. They were given it by friends, who had once been Corbett’s neighbours in Nainital. By the time I received it, the book had been covered with a protective sleeve of clear plastic. The title page is signed by Jim Corbett, in a neat, fastidious hand. Several years after Jungle Stories was published, Lord Linlithgow, Viceroy of India from 1936-43, requested a copy. He had met Corbett, who assisted in organizing viceregal shoots in the terai and was already regarded as a legendary shikari and raconteur. After reading the book, Linlithgow recommended that it be published by the Oxford University Press in Bombay. Jungle Stories is, essentially, the first draft of Man-eaters of Kumaon. Several of the chapters are identical, including stories of ‘The Pipal Pani Tiger’ and ‘The Chowgarh Tigers’, as well as an angling interlude, ‘The Fish of My Dreams.’ Corbett expanded this book into its present form by adding six more tales, including an account of the first man-eater he killed in 1907, near Champawat. This tigress was responsible for the deaths of 436 victims and her destruction helped cement Corbett’s reputation as a hunter. In recognition of his success, Sir J. P. Hewett, Lieutenant Governor of the United Provinces, presented him with a .275 Rigby-Mauser rifle. An engraved citation on a silver plaque was fixed to the stock. Corbett later bequeathed this weapon to the Oxford University Press, who sent it to their head offices in England. Eventually, the gun was confiscated by the police in Oxford because the publishers didn’t have a licence. For a number of years, John Rigby & Co., gunsmiths, displayed the rifle at their showroom in London, along with a copy of Jungle Stories. In February 2016, Corbett’s rifle was purchased at auction by an American hunter for $250,000. Following this, the rifle was brought to India for a week and briefly displayed at Corbett Tiger Reserve, as part of a promotional event. The editor at OUP, who shepherded Man-eaters of Kumaon to publication, was R. E. ‘Hawk’ Hawkins, himself a legend, who contributed greatly to India’s canon of nature writing. In his introduction to a collection of Corbett’s stories, Hawkins describes how this book came into his hands:
Jim Corbett (Man-eaters of Kumaon)
(from Acknowledgments) For some years I have profited from an in-house, informal but ongoing seminar on organizational behavior, a seminar comprising my wife, our three children, and three children-in-law. They have shared their insights into the functions and dysfunctions of the organizational settings in which they have worked, which include government, education, and medicine. I am indebted to all of them, though none are responsible for the uses to which I have put their observations. Eli Muller first drew my attention to the larger themes of The Wire (episodes of which he can quote chapter and verse), and his acute analysis of institutional dynamics finds its echoes in the pages of this book, which he also helped to edit. Thanks go to Joseph Muller, M.D., for orienting me in the literature of medicine and healthcare, as well as his sage advice about the tone and direction of the book. My wife, Sharon, was the first reader and editor of every chapter, and many of the book's ideas were born or refined in our daily conversations (when we weren't talking about the immeasurable pleasures of grandparenthood--but that's the subject of another book). Completion of this book was eased by the support of my parents. I'm saddened to note that this is the last project that I was able to discuss with mt father, Henry Muller, who passed away when the manuscript was nearing completion: his memory is a blessing. My mother, Bella Muller, remains a vigorous source of wisdom, encouragement, and humor in my life.
Jerry Z. Muller (The Tyranny of Metrics)
Except most cryptids have Wikipedia entries these days, so that’s maybe not such a good measuring stick. You know, most of the edits on the Sasquatch entry are actually made by Sasquatch? They think it’s hysterical watching the human editors argue about whether or not to let one of their corrections stand.
Seanan McGuire (Discount Armageddon (InCryptid, #1))
No ghost editor edited shit up on my work.
Jordan Hoechlin
The distributors were sending some of their largest shipments to some of the smallest towns in the state. I worried the editors would want the story for the Sunday edition. They agreed to give me time to do more reporting. I had three weeks to put together the story of a lifetime.
Eric Eyre (Death in Mud Lick: A Coal Country Fight against the Drug Companies That Delivered the Opioid Epidemic)
Those who tried to demonstrate some form of independence and fairness in their reporting and editing have paid a high price. The Straits Times editor, Han Fook Kwang, was sidelined and made managing editor after a rare display of fairness in political journalism when he gave the Opposition, especially the Workers’ Party, more editorial space than what was allocated during previous elections.
PN Balji (Reluctant Editor: The Singapore Media as Seen Through the Eyes of a Veteran Newspaper Journalist)
Years working at a newspaper. You learn to write fast and reasonably good and in a manner which does not require substantial editing. Or your editors and copyeditors stab you to death and hang your corpse in the newsroom as a warning to the other staff writers.
John Scalzi (Subterranean Scalzi Super Bundle)
Poly! To the Editor: Reviewing the Library of America edition of “The Days Trilogy,” by H. L. Mencken (Dec. 7), P. J. O’Rourke said that Mencken had only “a trade school education.” Mencken was educated at Baltimore Polytechnic, then and to this day considered one of the finest public high schools in the city. It was established to teach engineering, so describing it as a trade school is like calling M.I.T. one. STEVEN A. KING NEW YORK
Anthony DeCurtis came on board as a line editor and right away the project hit another level; his input snapped my sometimes flabby prose into shape, and his insights made every entry better. Recently we did a bit of mental math and realized he’d been editing me at Rolling Stone
Tom Moon (1,000 Recordings to Hear Before You Die (1,000... Before You Die Books))
Over the past decade Stallman created a powerful editing program called Gnu-Emacs. But Gnu’s much more than just a text editor. It’s easy to customize to your personal preferences. It’s a foundation upon which other programs can be built. It even has its own mail facility built in. Naturally, our physicists demanded Gnu; with an eye to selling more computing cycles, we installed it happily.
Clifford Stoll (The Cuckoo's Egg)
Almost the first thing I learned about being an editor was that it was hard work. To be sure, ditchdiggers and miners have it worse, but for sheer, numbing, endless (I do not, deliberately, say mindless) work, editing books is hard to beat.
Michael Korda (Another Life: A Memoir of Other People)
Whatever the thinking of Prof. Lowry and his editor, they obviously share the conviction that The Homiletical Plot can sit comfortably on the shelf with the scores of books on preaching since 1980.
Eugene L. Lowry (The Homiletical Plot, Expanded Edition: The Sermon as Narrative Art Form)
support. Over the years, her editing skills have grown to where the editors at my publishing house requested I not send in a manuscript until she’s had a chance to go through
Dan Walsh (When Night Comes (Jack Turner Suspense, #1))
Imagination and recollection of cherished memories of the pastimes are closely related. We do not recall memories verbatim. As our perspective changes regarding our place in the world, we shift through our recollections and revise our memories. People possess the ability to edit their memories by repressing unbearable episodes and highlighting incidences that generate fond memories. How we perceive and comprehend ourselves in the past, the present, and the future shapes our evolving sense of self. Humankind’s ability to repress unpleasant events and humankind’s ability to act as the solo editors of our germinating awareness of the world that we occupy is ultimately responsible for activating our metamorphosing sense of identity.
Kilroy J. Oldster (Dead Toad Scrolls)
David Goetz, a former editor for Christianity Today, takes it a step further, warning that even pastors are not exempt: For clergy, it’s the three-thousand-member mega-church. I wrote and edited for a clergy publication for several years. I often sat in the studies of both small-church pastors and mega-church pastors, listening to their stories, their hopes, their plans for significance.… Religious professionals went into ministry for the significance, to make an impact, called by God to make a difference with their lives. But when you’re fifty-three and serving a congregation of 250, you know, finally, you’ll never achieve the large-church immortality symbol.2 Goetz
Glenn Packiam (Secondhand Jesus)
The night copy editors actually handled the papers, every edition, hot off the presses. They left gray fingerprints on their keyboards and desks. They reminded Lincoln of moles. Serious people with thick glasses and gray skin. That might just be the lighting, he thought. Maybe he wouldn’t recognize them in the sunshine. In full color. They
Rainbow Rowell (Attachments)
Persuasion Alert Self-deprecating humor is an acceptable way to brag. Mentioning a moment of boneheadedness at my former company beats the far more obnoxious “I was a high-level manager at a publishing company that had twenty-three million customers the year I left.” The term du jour for this device: humblebrag. So I’m a lousy prognosticator of bestsellers. In retrospect, however, I can explain why the title was not such a bad idea after all. “South Beach” conjures an image of people—you—in bathing attire. It says vacation, one of the chief reasons people go on a diet. The Rodale editors stimulated an emotion by making readers picture a desirable and highly personal goal: you, in a bathing suit, looking great. So
Jay Heinrichs (Thank You For Arguing, Revised and Updated Edition: What Aristotle, Lincoln, And Homer Simpson Can Teach Us About the Art of Persuasion)
You need a certain head on your shoulders to edit a novel, and it’s not the head of a writer in the thick of it, nor the head of a professional editor who’s read it in twelve different versions. It’s the head of a smart stranger who picks it off a bookshelf and begins to read. You need to get the head of that smart stranger somehow. You need to forget you ever wrote that book.
Zadie Smith (Changing My Mind: Occasional Essays)
I am perfect. I don’t have to be perfect the first time. I’m a Goddess, a child of chaos. I get infinite replays, and I’m the editor, so only the ones I like are allowed into the final edition.
Callie Press (Queen Kegel and the Arena Planet: A Smutpunk Epic)
From the Bridge” by Captain Hank Bracker Pebbles, Rocks & Mountains Rocks can be formed in many different ways and are found in just about every corner of our planet, the Moon, up in space and who knows where else. Now pebbles are the mini-me’s of rocks and generally are about one to three inches in size. Geologists will tell you that they are about 5 millimeters in diameter, but who’s counting? In fact there are two beaches that are made up entirely of pebbles such as the Shingle Beach in Somerset, England. Generally pebbles are found along rivers, streams and creeks whereas mountains are usually a part of a chain that was created along geothermal fault lines. The process of Mountain formation is associated with movements of the earth's crust, which is referred to as plate tectonics. See; now that I looked it up, I know these things! What I’m about to say has absolutely nothing to do with geology and everything to do about human nature. In the course of events we never trip over mountains and seldom over rocks, but tripping over pebbles is another thing. Marilyn French, a writer and feminist scholar is credited with saying, “Men (she should have included Women) stumble over pebbles, never over mountains.” She was the lady (I should have said woman) whose provocative 1977 novel, “The Women's Room” captured the frustration and fury of a generation of women fed up with society's traditional conceptions of their roles (and this is true). However, this has nothing to do with the feminist movement and is simply a metaphor. Of course we’re not going to trip over mountains, not unless we are bigger than the “Jolly Green Giant!” and so it’s usually the little things that trip us up and cause us problems. What comes to mind is found on page 466 of The Exciting Story of Cuba. This is a book that won two awards by the “Florida Authors & Publishers Association” and yet there are small mistakes. They weren’t even caused by me or my team and yet there they are, getting bigger and bigger every time I look at them. Now I’m not about to tell you what they are, since that would take the fun out of it, but if you look hard enough in the book, you’ll succeed in discovering them! I will however tell you that one of these mistakes was caused by a computer program called “Word.” It’s wonderful that this program has a spell check and can even correct my grammar, but it can’t read my mind. In its infernal wisdom, the program was so insistent that it was right and that I was wrong that it changed the spelling of, in this case, the name of a person in the middle of the night. It happened while I was sleeping! I would have seen it if it had been as big as a mountain, however being just a little pebble it escaped my review and even escaped the eagle eyes of Lucy who still remains the best proof reader and copy editor that I know. When you discover what I missed please refrain from emailing me, although, normally, I would really enjoy hearing from you! I unfortunately already know most of the errors in the book, for which I take full responsibility. The truth of it is that my mistakes leave me feeling stupid and frustrated. Now, you may disagree with me however I don’t think that I am really all that stupid, but when you write hundreds of thousands of words, a few of them might just slip between the cracks. None of us are infallible and we all make mistakes. I sometimes like to say that “I once thought that I had made a mistake, but then found out that I was mistaken.” And so it is; if you think about it, it’s the pebbles that create most of our problems, not the rocks and certainly not the mountains. I’ll let you know as soon as my other books, Suppressed I Rise – Revised Edition; Seawater One…. And Words of Wisdom, “From the Bridge” are available. It’s Seawater One that has the naughty bits in it… but that just spices it up. Now with that book you can really tell me what you think….
Hank Bracker
Far more important than being the first, be willing to settle for the best.
M. Lincoln Schuster (Editors on Editing: What Writers Need to Know about What Editors Do)
could spill over to hysteria as the hours and minutes ticked towards the edition deadline. The news editors had phones glued to their ears,
Anna Smith (To Tell the Truth)
I was isolated from other editors and given the job of editing the Qur’an. It took me too long to figure out the reason for the changes - not that I could have done anything about them, but the changes gave the government, and the Islamic leaders, absolute control over every aspect of our daily lives. Every law they could think up was suddenly a law from Allah, and you dared not disobey Allah.
John F. Simpson (The Book in the Wall)
newer approaches to textual editing have been skeptical of the concept of an authoritative text, let alone an editor’s ability to distinguish such a text among multiple versions.
Gertrude Stein (Stanzas in Meditation: The Corrected Edition)
But I do wish some of these young reporters had the opportunity I had to work more closely with editors who could help them shape a story and make it better. “They still get edited, but not the way I worked with editors every step of the way on a story—it was the way we all learned the craft in those days. Today we just don’t have that many people.
Bob Schieffer (Overload: Finding the Truth in Today's Deluge of News)
(You'll notice how I didn't mention beta readers before this, right? Well, that's because I don't believe in using beta readers before I've edited my book completely myself. First, I think its rude to ask someone to read something as unfinished as a typical first draft, and second, if I rely on others to spot my problems for me, then I'm not growing as an editor or a writer. Save the fresh, foreign eyeballs for the problems you can't find on your own. Anything else is a waste of everyone's time.)
Rachel Aaron (2,000 to 10,000: How to Write Faster, Write Better, and Write More of What You Love)
The Doors music has been included in movies and their career has inspired feature films. Chapter 8 - The Doors at The Movies Ray Manzarek and Jim Morrison were film students at UCLA when they met. They both had an abiding interest in film and the past masters as well as creating a new cinema. Through The Doors they did create cinema. At first, one strictly of The Doors, but as their influence and legend spread through culture they, in turn, inspired those that were creating movies.   The Doors Film Feast of Friends Late in March 1968 (the exact date is unknown) The Doors decided to film a documentary of their forthcoming tour. The idea may have come about because Bobby Neuwirth, who was hired to hang out with Jim and try to direct his energies to more productive pursuits than drinking, produced a film Not to Touch the Earth that utilized behind the scenes film of The Doors. The band set up an initial budget of $20,000 for the project. Former UCLA film students Jim Morrison and Ray Manzarek hired film school friends Paul Ferrara as director of photography, Frank Lisciandro as editor, and Morrison friend Babe Hill as the sound recorder. The first show shot, for what would be later named Feast of Friends, was the April 13th performance at the Santa Rosa Fairgrounds. Overall shooting of the film lasted for five months between March and September, and captured the riots in Cleveland and the Singer Bowl. Filming culminated in Saratoga Springs, New York, where backstage Morrison goofed around on a warm up piano and improvised a hilarious ode to Frederick Nietzsche. After filming started, the concept grew and Feast of Friends was to incorporate fictional scenes (some version of HWY?). But problems started to arise. The live sound, in parts, was unusable so the decision was made to use the album cuts of Doors songs. The budget grew by another $10,000 and the film still wasn’t finished. A decision was made by Ray, Robby and John to pull the plug on the film, but Paul Ferrara appealed to Jim and a compromise was worked out. The fictional scenes would be dropped and another $4,000 was added to the budget to complete the editing. The completed film runs to about thirty-eight minutes and is mostly images taken from different shows, or the band prior to a show. It has some footage of the Singer Bowl riot, which shows the riot in full flower, the stage crowded with policemen and fans. Occasionally, Morrison comes out of nowhere to encourage it all. The centerpiece of the film is The End from the Hollywood Bowl show. The film suffers a bit from not using live sound, the superimposition of album cuts of songs (except the Hollywood Bowl footage) removes the viewer from the immediacy and impact of The Doors. Feast of Friends was later accepted at five major film festivals, including the Atlanta International Film Festival that Frank Lisciandro describes in An Hour For Magic. In later years Feast of Friends was shelved, missing the late 70’s midnight movie circuit showing rock films. In the 80’s with the advent of MTV, Ray Manzarek started producing videos of Doors songs for showing on MTV and they relied heavily on the Feast of Friends footage. Chances are that even if you haven’t seen Feast of Friends you’ve seen a lot of the footage.   Jim Morrison Films HWY The Doors had laid low for just over a month. On March 1, 1969, the ‘Miami Incident’ had occurred, at first with no reaction more than any other Doors show, and the band went off on a prearranged Jamaican vacation in anticipation
Jim Cherry (The Doors Examined)
We succumb to this time-sucking rule when we’re writing for a new editor or publication, and we want to impress them with our reporting skills. We’ll search a database for one more study, one more factoid that will make our article sound more authoritative. Or maybe one or two more expert quotes will provide more balance. We fall into this trap when we’re tackling a subject we’ve never covered before or a lengthy assignment where we have more leeway on content.
Linda Formichelli (The Renegade Writer: A Totally Unconventional Guide to Freelance Writing Success 3rd Edition)
In 1976, Bill Joy, the hacker who would lead development of BSD UNIX, wrote a text editor called vi, short for "visual," that allowed users to move their cursor and edit text anywhere on the screen.
David L. Craddock (Dungeon Hacks: How NetHack, Angband, and Other Roguelikes Changed the Course of Video Games)
The people kvetching about the new editing software never mastered the old editing software either.
John E. McIntyre (The Old Editor Says: Maxims for Writing and Editing)
In an expansive attempt to establish a foothold among California's intelligentsia and create America's first truly national newspaper, The New York Times launched a slimmed-down West Coast edition in October 1962... The result in LA was a sorry stepsister of the great gray New York Times for its West Coast readers... Reprocessed news dictated from 3,000 miles away by editors who knew zip about what made Southern California tick.
Dennis McDougal
#writetip / #writingtip — If you don’t have time to take a workshop, trying using these tags to learn more about your craft. #writing / #editing – These terms are also used, but aren’t nearly as popular as #amwriting and #amediting. #writingblitz – This one is used to let your followers know that today you are writing as fast as you can and locking your internal editor into a closet. #writingfiction – Fiction writers use this hashtag to meet each other or to share their books, goals, or ideas on writing fiction. #writingprompt — Is it hard to get started on the next chapter of your novel? Well, worry no more. Log on to Twitter, search for this tag, and you’ll find a great prompt to get those creative juices bubbling. #ww / #writerwednesday – Is there a writer you would like to introduce to your followers? Use this hashtag and introduce your colleague to your Twitter tribe.
Frances Caballo (Social Media Just for Writers: The Best Online Marketing Tips for Selling Your Books)
A study of advertising found that the average person in Shanghai saw three times as many advertisements in a typical day as a consumer in London. The market was flooded with new brands seeking to distinguish themselves, and Chinese consumers were relatively comfortable with bold efforts to get their attention. Ads were so abundant that fashion magazines ran up against physical constraints: editors of the Chinese edition of Cosmopolitan once had to split an issue into two volumes because a single magazine was too thick to handle. My cell phone was barraged by spam offering a vast range of consumption choices. “Attention aspiring horseback riders,” read a message from Beijing’s “largest indoor equestrian arena.” In a single morning, I received word of a “giant hundred-year-old building made with English craftsmanship” and a “palace-level baroque villa with fifty-four thousand square meters of private gardens.” Most of the messages sold counterfeit receipts to help people file false expense reports. I liked to imagine the archetypal Chinese man of the moment, waking each morning in a giant English building and mounting his horse to cross his private garden, on the way to buy some fake receipts.
Evan Osnos (Age of Ambition: Chasing Fortune, Truth, and Faith in the New China)
Ogilvy never wrote an advertisement in the office: “Too many interruptions.” He started by looking at every advertisement for competing products for the past 20 years: “Study the precedents.” Then he’d go to work on a headline. Finally, when he could no longer postpone the actual copy, he would start writing, usually throwing away the first 20 attempts. “If all else fails, I drink a half a bottle of rum and play a Handel oratorio on the gramophone. This generally produces a gush of copy.” The next morning, he would get up early and edit the gush. “I am a lousy copywriter,” he would say, “but a good editor.
Kenneth Roman (The King of Madison Avenue: David Ogilvy and the Making of Modern Advertising)
H. L. Mencken once felt compelled to offer a friendly piece of advice to William Saroyan. “I note what you say about your aspiration to edit a magazine,” said the man only a few years removed from guiding the groundbreaking American Mercury. “I am sending you by this mail a six-chambered revolver. Load it and fire every one into your head. You will thank me after you get to Hell and learn from other editors how dreadful their job was on earth.
Thomas Kunkel (Genius in Disguise: Harold Ross of The New Yorker)
In a time when the space allotted to photographs in magazines was shrinking, a slide show was the consolation prize; images that didn’t fit into the print edition were at least viewed by the public online. I was desperate. I spent almost two months traipsing around the mountains of one of the world’s most dangerous places, and as the piece went to press, my reporting was being questioned, some of my strongest images were being removed from the layout, and the editor in chief decided uncharacteristically that he would not run a slide show.
Lynsey Addario (It's What I Do: A Photographer's Life of Love and War)
You may indeed have had the experience of reading a story under a headline, and wondering whether there wasn’t some mistake — what the headline shouted and what the story appears to say point in different directions. And you can sometimes imagine how infuriating and humiliating it must be for the original journalist to have her nuance and research traduced by the quick-grab title. The point I’m trying to make is a simple one: we don’t read the story in the order in which it was written. We read the most recent piece of editing first, and that is what first guides our interpretation of the process which led up to it. Well, this is no less true of the Scriptures than it is of newspapers. We read the texts through the eyes of the most recent editors. And that means that the more we know about who edited the texts and when, the better a sense we will have of the different fragments that make up the whole.
James Alison (Jesus the Forgiving Victim: Listening for the Unheard Voice - An Introduction to Christianity for Adults)
Editorial staff For the first edition Editors Judy Pearsall Patrick Hanks Chief Science
Amazon Dictionary Account (Oxford Dictionary of English)
It is the heavy reality of the writing life which makes the “why” so easy to forget: Gutless rejection letters, denigrating revision letters, incompetent copy edits, insulting reviews, late checks, disappointing sales, down-trending print-runs, shrinking advances, royalties paid in a geological timeframe, imprints folding, publishers downsizing their lists and conglomerating their overhead.  One day your editor expresses all the enthusiasm of an overtired undertaker. The next day your agent demonstrates all the faith and commitment of a diseased streetwalker. Your book is packaged with a cover that would embarrass anyone who wasn’t raised in a Red Light district. You give a thoughtful interview only to discover the resultant article describes you as churning out potboilers. Three people show up at your book signing, two of them because they thought you were someone else; the third person came because you owe him money. When you make the New York Times list, a neighbor asks you “which” NYT list you’re on, because there must be a separate one for the trash you write. Though you’ve been publishing regularly for years, you know people who ask, every single time they see you, if you still write. (No, I fell back on my independent wealth when the going got tough.)
Laura Resnick (Rejection, Romance and Royalties: The Wacky World of a Working Writer)
The best writing reflects the author’s ideas and communicates them clearly to the reader.
Steve Dunham (The Editor's Companion: An Indispensable Guide to Editing Books, Magazines, Online Publications, and Mor e)
GREAT EXPECTATIONS [1867 Edition] by Charles Dickens [Project Gutenberg Editor's Note: There is also another version of this work etext98/grexp10.txt scanned from a different edition]
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
Eric von Hippel (Democratizing Innovation)
such thing as a cheap editor. Someone starting out who might not be as confident might edit for free or out of the goodness of his/her heart, but that
Ashlyn Forge (Self-Editing On A Penny: A Comprehensive Guide)
—Never use the passive where you can use the active.
William Strunk Jr. (The Elements of Style: Classic Edition (2018): With Editor's Notes, New Chapters & Study Guide)
In an interview, the creator of the popular London A–Z Street Atlas described how she momentarily lost possession of 23,000 index cards out of a window thanks to a sudden gust of wind. Many of those hand-completed cards flew onto the top of a bus as it sped down Holborn High Street. This explains the absence of the entry for Trafalgar Square in the first edition. I had no idea whether this anecdote was true or not. I never checked, but David made a very compelling narrator for forgivable editors’ oversights.
Eley Williams (The Liar's Dictionary)
David Felton, his former editor at Rolling Stone, called it “probably the worst-edited and most self-indulgent work since the Bible. There doesn’t seem to be any order.
William McKeen (Outlaw Journalist: The Life and Times of Hunter S. Thompson)
There is nothing more refreshing for an editor than to meet a writer or read a query that takes him completely by surprise
Betsy Lerner (The Forest for the Trees)
Lighten Up!, by Don Ladigin: A good “meat and potatoes” guide for traditional backpackers who want to lighten their load. Not as detailed as other guides, but sometimes too many details get in the way of the overall goal. It’s a good guide for the why of going lightweight rather than the specific what. Start with this book if you want to go from a 30-pound BPW to 15 pounds. Lightweight Backpacking and Camping, edited by Ryan Jordan: A detailed, gear-oriented workshop in book form. This book is aimed more toward high-end gear for lightening your load. But if you want diverse opinions from many different sources and wish to fine-tune your techniques, this book is a great guide. The editor is the publisher of backpackinglight.com. Pmags.com: My website offers my take on the basics of backpacking and going light. Articles include: “Beginners Backpacking Primer,” “Lightweight Backpacking 101,” and “My Evolving Gear List.
Colorado Trail Foundation (The Colorado Trail)
Mabel Todd took the offensive with her expanded edition of the Dickinson letters. Her preface presented it as the first book ever issued about Emily Dickinson, prepared at the requests of the poet’s brother and sister: Austin Dickinson, Lavinia Dickinson ‘and I’ collected letters ‘which they entrusted to me’ to edit and publish. At a stroke, this authorised editor displaced an unauthorised niece.
Lyndall Gordon (Lives Like Loaded Guns: Emily Dickinson and Her Family's Feuds)
Should an unpublished writer spend money for an editor? I did my own due diligence and searched for ones that edited many books in my genre (found one through my writers group), and paid each one handsomely. It was well worth it. Got me traditionally published, each time.
Nzondi (Oware Mosaic)
Publishers that survive, whether they focus on traditional print or on digital media, will need to become indispensable to the communities they serve.
Peter Ginna (What Editors Do: The Art, Craft, and Business of Book Editing)