The image isn't just created with the camera. That's just part one. The editor gets an imprint. The colorist does something to it. Visual effects does something to it. It's not just what you capture that people are going to see. The image gets made in many ways. In production and then in post.
Having been an editor for more than a decade, I thought I had a good idea of how much work was involved in writing a novel. I was wrong! Writing is a lot harder than I ever imagined - but worth it.
I have wanted to write from a young age, but working with so many gifted authors and editors over the years has taught me so much. I doubt I would be where I am today without that amazing experience.
For my second novel, The Apothecary's Daughter, my editor encouraged me to think of another unusual profession for a woman to have. That led to the main character, Lilly Haswell, who finds herself doing the work of an apothecary at a time when it was illegal for women to do so.
If you ever go to talk to an editor you don't want to be able to turn down a job because you can't do what is necessary.
Comics have a caste system - an editor has to act in a certain way, an artist has to be humble.
An artist has to be humble, an editor must be officious, and a publisher must be somewhere out in the galaxy enjoying godhood. It was a caste system, pure and simple. And it was accepted that way. Nobody thought of contracts, nobody thought of insisting on better deals.
One of the good things is the relationship between director and editor used to be more contentious. Studios used to leave directors alone more during the post production process and now they're clamoring to get in. So, the director and the editor end up teaming up sort of against the studio to fight what they're doing and you lose the creative tension that you used to have between an editor and a director.
I had an idea for a medical conspiracy thriller. Since it was non-horror, I didn't want the publishers and editors bringing a lot of baggage - my history as a genre writer in the SF and horror fields, for instance - to the novel when they read it. I wanted them to consider the book solely on its own merits. So I called myself Colin Andrews. I was tired of seeing my books at floor level. Not that Herman Wouk and Phyllis Whitney and William Wharton are bad company, but I wanted to be up at eye level for a change, where people with bad backs could get a chance to see my books.
To be a good editor or a good writer, I think you really need to be a great reader first.
Working as an editor was like being a professional reader, and the better I became at reading the better I became at writing.
I did not go to fashion school. I arrived in New York in 1986 from Kansas City and was working as accessories editor for Mademoiselle Magazine. While working at Mademoiselle I noticed that the market lacked stylish and sensible handbags, so I decided to create my own.
[Margot Hentoff] was an editor there for a time as well as a writer.
I've often said to myself, "Thank God I can write, 'cause this is hilarious." I actually wanted to go into all that more in the book, but my editor thought it was too crazy.
My last point about getting started as a writer: do something first, good or bad, successful or not, and write it up before approaching an editor. The best introduction to an editor is your own written work, published or not. I traveled across Siberia on my own money before ever approaching an editor; I wrote my first book, Siberian Dawn, without knowing a single editor, with no idea of how to get it published. I had to risk my life on the Congo before selling my first magazine story. If the rebel spirit dwells within you, you won't wait for an invitation, you'll invade and take no hostages.
Never demean yourself by talking back to a critic, never. Write those letters to the editor in your head, but don't put them on paper.
Start with something messy, get to the point, get an editor, and make it good.
The great thing about the animation process is that is goes from, I write the lines, it goes to the actors, the actors bring a whole world to that, they bring the characters to life, then it goes to the animators, then it goes to the editor who cuts it together, and then you screen it and it goes back through the system again.
The successful editor is one who is constantly finding newwriters, nurturing their talents, and publishing them with critical and financial success.
I've never had to work out of the arts. I've always either been a writer or an editor, or something where I've made my living from doing what I love. You can't get any better than that.
The President proclaims war, and those Senators who dissent are not those who know better, but those who can afford to...Democracy becomes a government of bullies tempered by editors.
I knew that I was a good writer in high school and won awards, and I was the editor of my school newspaper. So I knew that I was a good writer and I wanted to somehow capitalize and sort of utilize a talent that I thought I had.
I'm at a stage in my career where I don't expect or get too much editorial input into what I'm doing. I have a proven track record of success, so my editors are willing to cut me some slack even when a particular approach is not to their personal taste.
I worked as an assistant editor, actually, for a few years. That was right when I was just starting to get out at night and do a lot of stand-up, improv, and sketch work in New York. It really is invaluable. I think it pounded into me an awareness of what an editor wants and needs, in terms of clarity of a moment, where and when to start and stop a line.
As an editor, you're constantly dealing with the best way to convey an exchange between two people. So when I'm shooting that, I'm just aware in the back of my head what an editor might want. And also, the problems editors run into when trying to edit performances - it helps me head that off at the pass a little.
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