One of the great joys of launching your idea on the web is that it's a meritocracy. The good stuff will rise to the top and find an audience, and you don't have to impress one idiosyncratic commissioning editor.
Film is an editor's medium. You can create very good raw material and they can make it horrible, or you can do not so well and they can make it beautiful. You don't really know.
There is always a certain leap of faith that editors have made with their nonfiction writers. If the trust is broken, things can get very embarrassing for the writers and the publisher.
There's a lot of stuff they don't teach you in the mythical editors' school. They don't teach you that you're going to have to spend a lot of your life in crisis management.
Successful model? That's a myth. The year I modeled was the most painful year of my life. Editors would always talk to you in the third person as though you were merely a piece of merchandise.
I would love to direct a western. I love taking photographs and I'm always fascinated with angles. Also, my father was a film editor, and I have a talent for thinking of things that aren't always in a script.
The first version of The Beautiful Room Is Empty was the first mss. I'd ever submitted to New York editors.
An editor asked me what led me to write erotica. I replied, "A dirty mind, excess words, and an overactive sacral chakra.
Book writing is a little different because, in my case, my editor is a year younger than me and basically has the same sensibility as me.
I have an editor in my head, that's why I can't read Harry Potter, because Rowling is such a lousy writer.
'The New York Times' list is a bunch of crap. They ought to call it the editor's choice. It sure isn't based on sales.
A good editor can make a respectable writer remarkable, just like a good parent helps a child become amazing.
I've seen people who stink, but the film editor shows them just where they didn't stink. But if you're empty and manipulative on stage, it's clear.
Even the pool of ink could be dried out and writing papers could be burnt to ashes forever but the spoken word will never die so as the editor.
I think one of the interesting things is that vi is really a mode-based editor.
I started to write a new editor not too long ago and had it about half done after two days.
I got tired of people complaining that it was too hard to use UNIX because the editor was too complicated.
You get spoiled as a novelist because you get to be the director and the editor, and you play all the parts, but as a screenwriter, you are a bit down the ladder.
Very few editors worry about heresy - their goals are much too commercial, thank goodness.
I have a huge editor in my head who's always making me miserable. But sometimes, I try to let my unconscious act out.
One guy records the voices, another guy times the storyboard, another guy times the sheets, one guy is the story editor. All these jobs should be covered by the director.
