I was a fashion editor for years in London before I came to 'Vogue,' and I spent my life arranging the folds of a ball gown skirt for a picture and pinning fabric and using all those stylist tricks. And you don't have to do that now because they can do it in Photoshop.
If you're not in the hands of an expert editor, you really can go wrong in a lot of different ways.
My first job in the States was as a junior fashion editor at 'Harper's Bazaar,' which I enjoyed, but not for all that long because I was fired by the editor in chief, who told me that I was too 'European.'
Thomas, my 15-year-old, is effectively my editor, I've always trusted his voice, more than anybody, on the strip for years. He has one of those ears that's just tuned to the rhythm of humor, so if he says something's not funny, my stomach just hurts because I know he's right, and it's already been drawn.
My wife is my in-home editor and reads everything I write.
The ouster of Jill Abramson as executive editor of 'The New York Times' sent shock waves through the media landscape. Reports that she was fired thanks in part to a soured relationship based on the 'Times' alleged sexist pay discrepancy only made those shock waves stronger.
My editor's main job is to cut down my worldbuilding. There's so much fun stuff in there, you know?
What had brought me to New York in the autumn of 1972 was a letter of recommendation written by Norman Mailer, the author of 'The Naked and the Dead' and American literature's leading heavyweight contender, to Dan Wolf, the delphic editor of 'The Village Voice.'
I had this vague notion that one day I might be editor of 'Vogue China.' It was a bizarre ambition, as I didn't speak a word of Chinese. There were flaws in my plan, admittedly.
With bad movies, I have this image in my head of the director and the editor in the editing room watching a scene that is not happening, looking at each other and saying, 'Put some music in there.'
When interviewing for a job, tell the editor how you love to report. How your passion is gathering information. Do not mention how you want to be a writer, use the word 'prose,' or that deep down you have a sinking suspicion you are the next Norman Mailer.
I'm no editor, no artisan, no expert. And certainly no arbiter of what you should buy, wear, or eat.
I thought I would write non-fiction. I thought I would enter the New York literary scene as copy editor, work my way up, and then write my own books.
I think that the continuity of what I do as an editor with what I did when I started out 40 years ago is very direct. The delivery system is changing and will continue to, but the actual interaction between publisher and author is exactly the same.
Sometimes I write less than I'd like but do research. Other times, editor's notes or a copy-edited manuscript or page proofs for a forthcoming novel mean that I need to put my attentions elsewhere for a day or two, but I always come back to writing.
Jonathan Demme is a very sharp editor of his movies.
I bristle at the implication that only with the help of a Big Six editor does a novel lose its self-indulgent aspects. Before the advent of self-publishing, there were plenty of self-indulgent novels on the shelves.
Screen is satisfying because it's so technical and mysterious. It's like playing roulette: you get a script, you think it's either great or naff, but you have no idea how it will really turn out. On stage, you are your own editor - and you get brief moments of grace, where suddenly you feel free.
Every newspaper editor says the heart of the paper is the reporter - which is true - except for the pay!
In some Old Testament books, it's very evident that an editor has been at work. That's quite all right. It's part of the process.
Usually, an author writes a manuscript that is handed in to the editor. The editor will then work with an art director to find just the right illustrator for the job, and off they go. Many times, the illustrator and author never meet.
I want to try and be as involved in the art of filmmaking as possible. I feel that the only way to really do that is to take on as many roles as possible, whether it be as an actor, an editor, a director, a cinematographer.
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 don't want to be an editor! I don't want to direct; I'd be a horrible director. I don't want to write - I have a 'story by' credit on one film I did. And I don't want to edit at all.
When you see 'editor' on a book, there are many permutations of what that title can mean.
You could be an 18-year-old girl in Tokyo wondering how you could ever break into fashion or beauty, so you follow your favourite designer or editor, see what their day comprises, where they go, who they meet, how they do it... If I were setting up my own label today, I would definitely do it through Instagram.
I started creative writing classes at Aberdeen Central Library, and the writer-in-residence there, Todd McEwen, encouraged me a great deal. He showed my stories to his editor, and I thought that was just what happened to everyone who took his classes!
For 10 years, I'd been working as a freelance writer and editor, making money but not a living. It was a good arrangement family-wise, allowing me to stay home with our daughter, but not so great financially or, sometimes, ego-wise.
My toughest criticism usually comes from myself. As my editor can attest to, I'm never done tweaking a book until the production department has to rip it from my hands!
Writing is just very difficult. I'm an adequate performer. And I think I have a special talent as an editor. Editing is what I do best.
I always had to prove myself through my actions. Be a cheerleader. Be class president. Be the editor of the newspaper.
The only people who usually have input on my writing are my wife and my editor. I'm not in conversation with anyone except the people I report on and the people I work with.
The New York Times Bestseller 'The Amateur,' written by Ed Klein, former editor of the 'New York Times Magazine,' is one of the best books I've read.
I've always been charmed by houses, and descriptions of them are prominent in my novels. So prominent, in fact, that my editor once pointed out to me that all of my early novels had houses on the covers.
Being an editor doesn't make you a better writer - or vice versa. The worst thing any editor can do is be in competition with his writer.
As an editor, I read Charlotte Rogan's amazing debut novel, 'The Lifeboat,' when it was still in manuscript. I read it in one night, and I really wanted my company to publish it, but we lost it to another house. It's such a wonderful combination of beautiful writing and suspenseful storytelling.