Editors On Editing Quotes

Every writer, of course, has very specific ideas about editors. But writers seldom get the last word on anything. ~ Terry McDonell

My metaphor for acting in movies - not on stage because it's completely different on stage - is to put colors on an easel for the director to paint his own painting with in the editing room, long after I've left. You buy me for red and black, so I better give you really great red and black, but if I can give you purple, pink, green and brown too, I will. ~ Scott Glenn

I know when something is done and when it isn't. There's been times working on movies when they [moviemakers] lock in a release date and so you're stuck to that schedule. But sometimes you're still editing and you feel like you're not really done, but they're sort of releasing the movie anyway - that's kind of depressing. ~ Rob Zombie

We put on a pot of tea, a necessity between these two writing friends. We
could no more imagine writing without this hot sustenance than we could
without pen and paper. We sat at the table to talk shop, sort through our
notes, and make plans for the book. Then we settled down in the sunroom,
giggling a little at the unexpected absurdity of our activity, editing
within arm's reach of each other, like toddlers at parallel play. ~ Mary Potter Kenyon

I still feel needles in my back when I think about all the horrible disasters that would have befallen me if I had permanently moved to San Francisco and rented a big house, joined the company dole, become national-affairs editor for some upstart magazine-that was the plan around 1967. But that would have meant going to work on a regular basis, like nine to five, with an office-I had to pull out. ~ Hunter S. Thompson

Chats are so new to newspapers, historically. But they're so incredibly valuable because editors/reporters/columnists get to find out what's on the minds of our readers, what you think we should be writing about, what ticks you off, what makes you happy. Sometimes it can confirm what you think readers are interested in; sometimes it can turn you around 180 degrees. ~ Michael Wilbon

It's not words, but years we should be editing. Remember: time spent on bad art is a form of redundancy, doing the same thing twice is a form of tautology, and wasting precious moments complaining about life is a form of pleonasm. We should all learn to live our lives concisely. ~ Anthony Marais

I think I'm becoming more relaxed in front of a camera. I suppose I'll always feel slightly more at home on stage. It's more of an actor's medium. You are your own editor, nobody else is choosing what is being seen of you. ~ Michael Sheen

I think a lot about the editing of the films when we're making them, partly because I studied that, and partly because if you think about being in love while you're supposed to be acting in love, there's nowhere to go. You have to focus on something else and then do what's being asked, and you might get some semblance of something interesting. ~ Paul Schneider

Never use the word, 'very.' It is the weakest word in the English language; doesn't mean anything. If you feel the urge of 'very' coming on, just write the word, 'damn,' in the place of 'very.' The editor will strike out the word, 'damn,' and you will have a good sentence. ~ William Allen White

I wasn't weaned on the web nor coddled on a computer. Instead, I grew up in a highly centralized world where news and information were tightly controlled by a few editors, who deemed to tell us what we could and should know. My two young daughters, on the other hand, will be digital natives. ~ Rupert Murdoch

I also began to have a pretty disturbing attitude toward eating. I developed a real superiority complex to people who ate actual food. I realized that this is how fashion editors at women's magazines must feel all the time. Oh God, look at those sad piggos, munching away on their sandwiches. I'd just sit there, sipping my kale juice, quietly judging everyone as they happily ate their lunches. And ~ Mindy Kaling

There's mainstream pornography--soft-core airbrushed fluff such as Penthouse and Playboy. The folks makin' this stuff do men and their range of desires a disservice; their implication is that anything outside the "big hair, fake tits, tiny waste, no pores, limited body hair" aesthetic is deviant, weird, not normal--and not something that a red-blooded American man would be interested in. The common boys-will-be-boys explanation for porn--that men get turned on visually (in contrast to "feminine" mode of arousal, which is mental and emotional)--is nothing more than an insult, making men out to be Pavlovian dogs who salivate uncontrollably and strain at their trousers upon contact with nudie pictures.
Antiporn arguments, however well-meaning, are no better. Folks like Catherine MacKinnon also believe that men are inherently drawn to porn. And to them, porn is by definition violent, suggesting that it's somehow in men's nature to be aroused by hurting others. Furthermore, antipornography activists think that porn leads men to commit violence--as if men have no self-control or capacity to separate fantasy from reality, as if an erection is a driving force that can't be stopped once it's started... The only difference is one of perspective: Antiporn folk believe that male sexuality is always threatening, while men's-magazine editors think it's always fabulous. ~ Lisa Jervis

Editing is the very edge of your knowledge forced to grow
a test you can't cheat on. ~ S. Kelley Harrell

In our marriage it was our practice not to share anything that was upsetting, depressing, demoralizing, tedious - unless it was unavoidable. Because so much in a writer's life can be distressing - negative reviews, rejections by magazines, difficulties with editors, publishers, book designers - disappointment with one's own work, on a daily/hourly basis! - it seemed to me a very good idea to shield Ray from this side of my life as much as I could. For what is the purpose of sharing your misery with another person, except to make that person miserable, too? ~ Joyce Carol Oates

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

It is amazing how little effort most people make to improve control of their attention. If reading a book seems too difficult, instead of sharpening concentration we tend to set it aside and instead turn on the television, which not only requires minimal attention, but in fact tends to diffuse what little it commands with choppy editing, commercial interruptions, and generally inane content. ~ Mihaly Csikszentmihalyi

The world has been changing even faster as people, devices and information are increasingly connected to each other. Computational power is growing and quantum computing is quickly being realised. This will revolutionise artificial intelligence with exponentially faster speeds. It will advance encryption. Quantum computers will change everything, even human biology. There is already one technique to edit DNA precisely, called CRISPR. The basis of this genome-editing technology is a bacterial defence system. It can accurately target and edit stretches of genetic code. The best intention of genetic manipulation is that modifying genes would allow scientists to treat genetic causes of disease by correcting gene mutations. There are, however, less noble possibilities for manipulating DNA. How far we can go with genetic engineering will become an increasingly urgent question. We can't see the possibilities of curing motor neurone diseases - like my ALS - without also glimpsing its dangers.
Intelligence is characterised as the ability to adapt to change. Human intelligence is the result of generations of natural selection of those with the ability to adapt to changed circumstances. We must not fear change. We need to make it work to our advantage.
We all have a role to play in making sure that we, and the next generation, have not just the opportunity but the determination to engage fully with the study of science at an early level, so that we can go on to fulfil our pote ~ Stephen Hawking

To make good films, you have to have a good relationship and good collaboration as composer-director, composer-editor, composer-production designer-actor because you're working with the actors on screen. ~ Howard Shore

When I'm editing, it's such a tough call, and I get challenged on it all the time. You've got to go with your gut - sometimes when you look at a photograph, you just know it's the shot. Sometimes it's about the connection, or about the simplicity of the composition. ~ Russell James

VI was predecessor to hundreds of word processing systems. By now, Unix folks see it as a bit stodgy - it hasn't the versatility of Gnu-Emacs, nor the friendliness of more modern editors. Despite that, VI shows up on every Unix system. ~ Clifford Stoll

There is anxiety, but it comes after you've finished filming because it's out of your hands; people are editing it, they're cutting it, marketing it. And it's ... part your career sort of rides on that. But when you're actually filming it's a team thing and it really feels good there for me. ~ Hugh Jackman

In editing, it's amazing how you choose the in and out points. What you cut on is everything for creating tension. It's amazing how expanding a shot by five seconds can just ruin the tension. ~ Sean Durkin

I have dictated stories from an airport after writing the story out in longhand on the plane that I got from phone interviews and then was applauded by editors for 'working magic.' ~ Rick Bragg

This novel humbled me in a number of ways. I was reading manuscripts for a magazine called Accent, and had in front of my prose-bleary eyes a piece called "A Horse in a London Flat." And I was in a doze. More dreariness. More pretension. When will it all end? How shall I phrase my polite rejection? Something, I don't remember what it was now, but something ten pages along woke me up, as if I had nearly fallen asleep and toppled from my chair. Perhaps it was the startle of an image or the rasp of a line. I went back to the beginning, and soon realized that I had let my eyes slide over paragraphs of astonishing prose without responding to them or recognizing their quality. That was my first humiliation. I then carried the manuscript to my fellow editors, as if I were bringing the original "good news," only to learn that they were perfectly familiar with the work of John Hawkes and admired it extravagantly. Hadn't I read The Cannibal, or The Goose on the Grave? Where had I been! What a dummy! (Though my humiliation would have been worse if I had written that rejection.)

A number of years had to erode my embarrassment before I could confess that I had not spotted him at once (as I initially pretended). What a dummy indeed. The Lime Twig is a beautiful and brutal book, and when it comes to the engravement of the sentence, no one now writing can match him. ~ William H. Gass

There were all us baby boomers who had a grammar school education, started to learn, then went on the pill, the whole thing, and so there are today a lot more women writers, editors, producers, and so a lot more women's stories. God, the BBC's practically run by women. ~ Julie Walters

All my editors since Malcolm Cowley have had instructions to leave my prose exactly as I wrote it. In the days of Malcolm Cowley, with 'On the Road' and 'The Dharma Bums', I had no power to stand by my style for better or for worse. ~ Jack Kerouac

For the next nine months, Sylvia would report on campus trends, politics, tastes, style. It was an honor, but it was grueling. Sylvia was overworked. She had boyfriend problems. She longed for Europe. She broke her leg in a skiing accident. Her best friend, Marcia Brown, had gotten engaged and moved off campus - other girls were away on their junior year abroad. The whole campus seemed mired in some bleak haze- there were suicide attempts, abortions, disappearances, and hasty marriages. Sylvia coped with shopping binges in downtown Northhampton- sheer blouses, French pumps, red cashmere sweaters, white skirts, and tight black pullovers - clothes more suited to voguish amusements than studying. Everyone wanted to be one of Mademoiselle's guest editors, but Sylvia needed it - some shot of glamour to pull her out of the mud. ~ Elizabeth Winder

Let's start with some of the reasons that the press holds its tongue and some of the things that you don't know because of this. We'll begin with squeamishness, prudishness, timidity and an overdeveloped fear of offending someone ... So much for squeamishness and prudishness. There are many other reasons that we editors fail you in this pact you and we have. Let me name a few more: Orthodoxy, conventional thinking, a misplaced pleasure at being on the inside, incompetence and laziness. ~ Geneva Overholser

By June 1949 people had begun to realize that it was not so easy to get a program right as had at one time appeared. I well remember when this realization first came on me with full force. The EDSAC was on the top floor of the building and the tape-punching and editing equipment one floor below on a gallery that ran round the room in which the differential analyzer was installed. I was trying to get working my first non-trivial program, which was one for the numerical integration of Airy's differential equation. It was on one of my journeys between the EDSAC room and the punching equipment that "hesitating at the angles of stairs" the realization came over me with full force that a good part of the remainder of my life was going to be spent in finding errors in my own programs. ~ Martin Campbell-Kelly

Not long ago, I advertised for perverse rules of grammar, along the lines of "Remember to never split an infinitive" and "The passive voice should never be used." The notion of making a mistake while laying down rules ("Thimk," "We Never Make Misteaks") is highly unoriginal, and it turns out that English teachers have been circulating lists of fumblerules for years. As owner of the world's largest collection, and with thanks to scores of readers, let me pass along a bunch of these never-say-neverisms:

* Avoid run-on sentences they are hard to read.
* Don't use no double negatives.
* Use the semicolon properly, always use it where it is appropriate; and never where it isn't.
* Reserve the apostrophe for it's proper use and omit it when its not needed.
* Do not put statements in the negative form.
* Verbs has to agree with their subjects.
* No sentence fragments.
* Proofread carefully to see if you any words out.
* Avoid commas, that are not necessary.
* If you reread your work, you will find on rereading that a great deal of repetition can be avoided by rereading and editing.
* A writer must not shift your point of view.
* Eschew dialect, irregardless.
* And don't start a sentence with a conjunction.
* Don't overuse exclamation marks!!!
* Place pronouns as close as possible, especially in long sentences, as of 10 or more words, to their antecedents.
* Writers should always hyphenate between ~ William Safire

A good deal of editing a manuscript looks like mechanical work, as if anyone with time on their hands and a magnifying glass could do it. But at a certain point, you need a strong interpretive conviction and, as you say, an "intangible" relationship to what you are doing. ~ Oliver Harris

Edit your manuscript until your fingers bleed and you have memorized every last word. Then, when you are certain you are on the verge of insanity ... edit one more time! ~ C.K. Webb