Editing Experience Quotes

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.

I know that many authors say editors don't edit anymore, but that's not been true in my experience.

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.

One thing I have noticed is that when you're a younger editor, you're more intense about it. As you go along, you relax a little. More and more, I feel that the book is the author's. You give the author your thoughts, and it's up to him or her to decide what to do.

When I worked as an editor, I read new novels being published in India every few days. They excited me tremendously for the first fifty pages or so, and boasted some true linguistic genius at times, but none of those writers could occupy more than one mind at once.

As an undergrad, I was the editor of the Yale humor magazine, and since then, I've published humor in the 'New York Times' and 'Atlantic,' among other places.

I personally made lots of mistakes during my 10-12 years as a newspaper editor. Some of which I felt were big mistakes I have tried to address.

Being an editor it's a complicated job, but the last impression I'd want anybody to have is that it's onerous. It's a joy - a complicated joy, but a joy.

Chiki Sarkar edited 'Mrs Funnybones,' and she is a ruthless but kind editor to work with. The only lesson I learnt during this process was to say, 'Yes, Prime Minister,' and re-write.

I can access footage much quicker, yes. But in terms of living with a film and knowing what's right, digital doesn't do that for you.

'The New Yorker' was really my first experience with serious editing. Previously, I'd more or less just had copyediting with a few suggestions - not much.

Seeing the first edit is the worst.

You do understand that you can't force the situation, but in terms of how you edit, you can define that to take the audience along, whether it be a storyline or a character moment that we can play out. The more experience you've had, the more beneficial it is, period.

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.

When I was in my mid-twenties, I was a copy editor at Doubleday, and for a brief period, it was my job to help shepherd Pat Conroy's 'Beach Music' into the world.