The greatest films ever made in our history were cut on film, and I'm tenaciously hanging on to the process. I just love going into an editing room and smelling the photochemistry and seeing my editor wearing mini-strands of film around his neck.
After more than a decade as the editor of 'Wired' magazine, Chris Anderson started the company of his dreams - a robotics manufacturing company called 3D Robotics - to produce the autonomous flying vehicles coming out of DIY Drones.
The market for short stories is hard to break into, but a magazine editor isn't always looking for big names with which to sell his magazine - they're more willing to try stories by newcomers, if those tales are good.
Not that I've always loved the movie when they finally come out, or if they ever come out-because many of them don't come out-but I've gotten to work with really good story editors and stuff like that.
A good many young writers make the mistake of enclosing a stamped, self-addressed envelope, big enough for the manuscript to come back in. This is too much of a temptation to the editor.
That's why editors and publishers will never be obsolete: a reader wants someone with taste and authority to point them in the direction of the good stuff, and to keep the awful stuff away from their door.
The essays in The Great Taos Bank Robbery were my project to win a Master of Arts degree in English when I quit being a newspaper editor and went back to college.
I was an English major at the University of Minnesota, and I was very shy, which many people misinterpreted as intelligence. On the basis of that wrong impression, I became the editor of the campus literary magazine.
There's something about the alchemy of the show - the actors, the writers, the directors, the editors - that makes 'Parenthood' unique. You get so deeply embedded with these characters because you go through life with them, and that's our priority.
Onstage I'm the one in control - I'm not at the mercy of how an editor chooses to put the scene together later. I can do things onstage that I would never do in real life. It's very freeing.
When I was 21, I wanted to write like Kafka. But, unfortunately for me, I wrote like a script editor for 'The Simpsons' who'd briefly joined a religious cult and then discovered Foucault. Such is life.
I was working for Time-Life Books from 1962 to 1970, as a staff writer, and after that, I was a journalist. Eventually, I became an editor at 'The Saturday Review' and 'Horizon.'
I dreamt of being a writer once I started to read. I started to write 'Bonjour Tristesse' in bistros around the Sorbonne. I finished it, I sent it to editors. It was accepted.
I thought it was a glorious thing to be a critic and to be a literary editor, and one was really doing something that mattered: to keep up standards, to take books seriously.
Although I still write, research and investigate, my role is primarily that of a publisher and editor-in-chief who organises and directs other journalists.
I think on civilian casualties they could do more. It's actually something I've discussed with the editors involved. They're aware of it, and I'm hopeful that there will be more reporting on that.
Newspapers and their editors have to become as accountable as the rest of us - they are not 'a special case,' and they have only themselves to blame for having lost the argument for 'exceptionalism' - and with it the right to 'self-regulation.'
Machines aren't replacing proofreaders at all. Copy editors, who proofread and much, much more, use spellcheck as a tool but read every word that appears in the paper.
I try not to second-guess editors; they're the clients, and I have no expectation that my strip is going to make it into every paper every day.
I always had to prove myself through my actions. Be a cheerleader. Be class president. Be the editor of the newspaper. It gave me a way to show who I was without being angry or violent.
On a book like 'X-Men,' you have to stay true to the established fiction, working with editors to ensure continuity, sometimes across multiple titles.
