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You've got to have confidence and trust in your cast. You have to have confidence and trust in your director, in your editor. It's such a team effort; I really think you have to pull yourself out of it and just trust. I think the number one thing you can do is just trust everyone around you.
While writing my first 90 books, I was magazine editor, publisher, book publisher, executive, etc., so I was established in publishing. three of my seven or so books were biographies of sports stars and really opened doors for me in that area.
Jerry B. Jenkins
I think about the question of perspective in reporting all the time, and since I spent 20 years of my career in Washington as both a reporter and an editor I'm keenly aware that a newspaper should not be dominated by stories in which the only voices and perspective come from those in power.
I was only 24 years old when a lady called Sabina Sehgal Saikia - the then 'Delhi Times' editor - asked me to host the 'Times Food Guide Awards,' so it was with The 'Times of India' that my career began in this field.
I wrote a query letter to an editor - a friend of a friend. The editor called me an idiot, told me never to contact an editor directly, and then recommended three literary agents he had worked with before. Laurie Fox was one of them, and I've never looked back.
Daniel H. Wilson
I was a newspaper editor in high school, and I truly thought of journalism as a career. I loved it.
After Ann Godoff, who was editor-in-chief at Random House, left and went to Viking, I got to know Viking and the people there, and liked them very much. I also found a wonderful editor there, Wendy Wolf. It's a very congenial press.
Dullness is the only crime for which an editor ought to be hung.
From 1961 to 1964, I was fortunate enough to work at a think tank in the Kenwood neighborhood of Chicago. As a writer and editor, I reported in a publication about the thinkers. Our offices were in a former mansion; I worked in what had been the ballroom. As I sat typing my copy, I imagined the dancers waltzing.
You get spoiled as a novelist because you get to be the director and the editor, and you play all the parts, but as a screenwriter, you are a bit down the ladder.
I have been blessed to have the same editor and work for a great publishing house.
I always have trouble with titles for my books. I usually have no title until the editor has to present the book and calls me frantically, 'Judy, we need a title.'
I always swore I would never write a book. But I read Clare Balding's and it was really interesting and so prettily written and lovely and not too revealing. I went to her book launch and met her editor who said 'why don't you think about it? You can do it however you want, based on your characters or you.'
The best compliment came from Knopf's Sonny Mehta. We were at lunch in New York with my editor, Gary Fisketjon, it was my first time meeting Sonny, and after ordering our food, he turned to me and said, 'Adam, I read 'Mr. Peanut' in two days; every page surprised me, and that, I can assure you, doesn't happen often.'
I believe every editor should stand to edit. That's just my particular soapbox. Some things are so delicate and depend on such fine, delicate work. One frame in one direction or another can make such a difference and it is, in that, like brain surgery.
My job as an editor is to gently prod the attention of the audience to look at various parts of the frame. And that - I do that by manipulating how and where I cut and what succession of images I work with.
I was editor of my high school literary magazine and a reporter for the school newspaper.
When the war was over and the guys were back to shaving every day, the editor thought the Beetle Bailey strips were hurting their disciplinary efforts to get the guys back to routine.
I was a film editor for eight years before I made my first feature, 'Dog Soldiers.' I am from Newcastle upon Tyne, in the northeast of England.
In fact, I spent 25 years as a reporter, swearing I would never become an editor. Sitting at a desk, watching other people go out and find the story, and then fussing with other people's words - I just didn't get the appeal of that.
I am thrilled to become international 'Vogue' editor at Conde Nast International, which has a real commitment to journalistic excellence, and to have the opportunity to write for a wider global audience through the 'Vogue' websites.
You should never rely on interviews with musicians as being factual. Most of them are mangled and even have made up stuff in them, that is to say, made up stuff by the writer or editor.
Writers' bedtimes vary, but few have been spared the shock of a copy editor's early wake-up call.
Truth is, every writer has to be a good editor, and you have to edit yourself. It's a skill every writer has to acquire.
Between you and me, I think that may be one of the things that will help with the collaboration, because there are things Eric thinks I'm moving too quickly on, and there are things I think he's dragging out. When it gets to the editor they can arbitrate.
A. P. J. Abdul Kalam
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