I believe that all brands will become storytellers, editors and publishers, all stores will become magazines, and all media companies will become stores. There will be too many of all of them. The strongest ones, the ones who offer the best customer ...
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.
I try to help people become the best possible editors of their own work, to help them become conscious of the things they do well, of the things they need to look at again, of the wells of material they have not even begun to dip their buckets into.
I started making little films with a 16 mm camera as an undergraduate at Yale. My first job out of college was 'assistant editor' on a forgettable low budget feature.
I don't like a kind of workshop that is about editing--I don't want to sit there and be an editor. I don't want to tell someone how to "fix" a poem.
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.
I was the editor of the school newspaper and in drama club and choir, so I was not a popular girl in the traditional sense, but I think I was known for being relatively scathing.
When I first started to write, I was aware of being queer, but I didn't write about it. Queer poems would probably not have been accepted by the editors I sent them to.
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.
I did a lot of theater, so especially as an on-camera camera actor, there are so many things that aren't in your toolbox. They're somebody else's job. You think about editors and rhythm. Volume isn't even in your control.
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!
My editor picked out the name she wanted. I was either going to be Kim Harrison or Lisa Harrison, because she wanted me shelved right next to Hamilton.
Rewriting is a large part of the whole job. And get rid of stuff that's not working. Just pare it down until it's a beautiful thing you can hand in, probably late, to your editor.
Honestly, I expected to get a cold reception because of my subject matter. But when editors took a look at the story I had to tell, and saw that this was not a parochial story at all, they really warmed to it.
When I write a novel, every word is mine. I welcome suggestions from my editor, but in the end, I make all the final decisions.
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.
In civilized societies, if you are offended by a cartoon, you do not burn flags, take up guns and raid buildings, chant death to your opponents, or threaten suicide bombings. You write a letter to the editor.
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 was a writer for 'New York' magazine. I had been to business school, but what did I know? Still, everybody from the receptionists on up to the editor would ask me what they should do with their money.
And at that point, I think my experience in covering the subject helped me. I think editors felt comfortable with the idea of me telling this story because I had demonstrated that I know this business pretty well.
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.
