I first started working in film when I was 17. I was a director's assistant, an editor.
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.
Marxists are people whose insides are torn up day after day because they want to rule the world and no one will even publish their letter to the editor.
I write about people I think are interesting, and then I discuss it with my editor, and she decides if she thinks it will be interesting to children as well. If I have no great interest in the subject, I find the work to be terribly boring. And if I find the person interesting, I love the research part and, by extension, the writing as well.
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.
Someone who does an act. In a democratic society, you're supposed to be an activist; that is, you participate. It could be a letter written to an editor.
I've been using the same editor, thankfully, she's been sticking with me, but I've been doing it full-on guerilla style... I haven't gotten any public sponsor or anything, because I don't want to seem like I'm trying to sell any particular thing.
I'm a writer first and an editor second... or maybe third or even fourth. Successful editing requires a very specific set of skills, and I don't claim to have all of them at my command.
I wanted to be an editor or a journalist, I wasn't really interested in being an entrepreneur, but I soon found I had to become an entrepreneur in order to keep my magazine going.
Journalists don't have audiences - they have publics who can respond instantly and globally, positively or negatively, with a great deal more power than the traditional letters to the editor could wield.
I'm totally against the idea of a celebrity editor.
I feel sorry for people who have to edit me. Which is why book writing is by far the most enjoyable. Really the only thing it's based on is whether it's good or not. No book editor, in my experience, is getting a manuscript and try to rewrite it.
After I've sent my revised draft to my agent and editor, they suggest more improvement sand again, this revision phase can take anywhere from a few hours to a few months.
I always try to write from memory, and I always try to use memory as an editor. So when I'm thinking of something like a relationship or whatever, then I'm letting my memory tell me what the important things were.
In a world where everyone is a publisher, no one is an editor. And that is the danger that we face today.
I wrote an article on a new Porsche for 'Automobile Magazine.' I knew the editor, and she asked me to write this article. So I'm more proud of that than anything.
This is a man who graduated summa cum laude from Harvard University in three years, editor of the Harvard Law Review, argued 39 cases before the Supreme Court.
I don't mind being identified as any character as long as I'm doing a good job as an actor. I have done all kinds of roles - from an editor, judge, police officer, murderer to a corrupt businessman.
I sent The World Well Lost to one editor who rejected it on sight, and then wrote a letter to every other editor in the field warning them against the story, and urging them to reject it on sight without reading it.
I have been blessed to have the same editor and work for a great publishing house.
The first job I was offered was as an editorial assistant. I think it was the best thing for me, in terms of being a storyteller by nature, to have spent years being an editor because I learned so much from it.
It was not until I began to write a book called 'Light Years' that an editor really stepped in. The editor was Joe Fox at Random House, and he wound up editing a subsequent book.
Most of my success, I feel, comes from being a good editor as opposed to a great writer.
In the summer of 1963, my second with 'Sports Illustrated,' Jerry Tax, the basketball editor, got the Celtics' Frank Ramsey, the NBA's first famous sixth man, to do a piece for the magazine revealing some of the devious little tricks of his trade. Things like surreptitiously holding an opponent's shorts - nickel-and-dime stuff.
My dad was a news editor for a Brazilian news station, and they had offices in New York and London.
I always figured that I was one new editor away from unemployment.
Filmmaking has always involved pairs: a director coupled with a producer, a director alongside an editor... The notion of couples is not foreign to cinema.
There are times when I'll send a manuscript to an editor, and I'll think it is the most likely project I've ever sent them. And they might call me the next morning and say they couldn't tolerate it. That happens so frequently that I've given up any expectation of knowing what anybody's going to like.
Michel duCille has been an editor of indelible integrity, decency, and a deep sense of humanity. Michel stood by me during the highlights and shadows of my life. We began our careers together as interns at 'The Miami Herald.' His photography over the years embodied the concerned journalist, which carried over to his work in management.
On 'Senna,' it got to the point where there was so much footage that our first editor had the wild suggestion that we only use the archive.
Although being economics editor sounds impressive, it does not mean I actually edit anything. It mainly reflects two decades of title-inflation at the BBC, which has given ever more status to senior reporters, presumably because it is cheaper to do that than to offer higher pay.
An early editor characterized my books as 'romantic comedy for intelligent adults.' I think people see them as funny but kind. I don't set out to write either funny or kind, but it's a voice they like, quirky like me... And you know, people like happy endings.
I am not altogether confident of my ability to put my thoughts into words: My texts are usually better after an editor has hacked away at them, and I am used to both editing and being edited. Which is to say that I am not oversensitive in such matters.
I'm my own boss, my own editor, my own shooter, my own writer, everything. This is all stuff I learned through trial and error... failing at a lot of things has taught me how to succeed at them eventually... you roll with the punches.
It got to the point where most of my time went toward writing novels. I would still occasionally write short stories, but only when I was commissioned by an editor to write for a themed anthology or special issue.
The best advice I got as a writer was also the first advice, which came from the late fantasy author and editor Karl Edward Wagner: Any agent who charges to look at your work is a crook.