Quotes on Editors

Whether the flower looks better in the nosegay than in the meadow where it grew and we had to wet our feet to get it! Is the scholastic air any advantage?

And in Hollywood, you know, everyone is an expert. Most of them are expert editors. They can't direct, they can't write, they can't act, but, by God, they all think they can edit.

Neanderthal man listened to stories, if one may judge by the shape of his skull. The primitive audience was an audience of shock-heads, gaping around the camp-fire, fatigued with contending against the mammoth or wooly-rhinoceros, and only kept awake by suspense. What would happen next? The novelist droned on, and as soon as the audience guessed what happened next, they either fell asleep or killed him.

EMACS could not have been reached by a process of careful design, because such processes arrive only at goals which are visible at the outset, and whose desirability is established on the bottom line at the outset. Neither I nor anyone else visualized an extensible editor until I had made one, nor appreciated its value until he had experienced it. EMACS exists because I felt free to make individually useful small improvements on a path whose end was not in sight.

In a world where everyone is a publisher, no one is an editor and that is the danger that we face today.

It's the first time in the history of the world that creatives are also distributors. And that's very profound if you think that up until the recent history, permission was required for us to be able to share work at any sort of scale. We had to get permission from galleries, from ad agencies or photo editors to be able to have our work out there. And now anybody with access to a computer can show their work in 200 countries around the world.

The job of the critic is to report to us his moods.

Peace without justice is tyranny

Media gatekeepers - editors, publishers, film studios and the like - need to begin investing in talent behind the scenes, developing and resourcing marginalized voices to tell their own stories. At the end of the day, it's about the story and what will enable the audience to truly see, understand, and know the life and times of the subject.

Fear your admirers! Learn in time to hear, understand, and love the cruel truth about yourselves!

I wanted to put a reference to masturbation in one of the scripts for the Sandman. It was immediately cut by the editor [Karen Berger]. She told me, "There's no masturbation in the DC Universe." To which my reaction was, "Well, that explains a lot about the DC Universe."

The reviewer always has hold of the wrong horror.

So I became a publisher by mistake - well, not quite by mistake, because I wanted to be an editor but I had to make sure the magazine would survive. The point is this: Most businesses fail, so if you're going to succeed, it has to be about more than making money.

That is a society editor, sitting there elegantly dressed, with his legs crossed in that indolent way, observing the clothes the ladies wear, so that he can describe them for his paper and make them out finer than they are and get bribes for it and become wealthy.

Honest criticism and sensitive appreciation are directed not upon the poet but upon the poetry.

I would proclaim that the vast majority of what [say, Scientific American] is true-yet my ability to defend such a claim is weaker than I would like. And most likely the readers, authors, and editors of that magazine would be equally hard pressed to come up with cogent, non-technical arguments convincing a skeptic of this point, especially if pitted against a clever lawyer arguing the contrary. How come Truth is such a slippery beast?

There are many more want-to-be writers out there than good editors.

I know a lot of editors who are very bitter about the directors they work with. They feel they could have done a better job, and I say to them, 'Oh really? Why don't you go try - it's not easy.'

You had to get everything exactly right or the editors would give you hell.

As nearly as possible in the spirit of Matthew Salinger, age one, urging a luncheon companion to accept a cool lima bean, I urge my editor, mentor and (heaven help him) closest friend, William Shawn, genius domus of The New Yorker, lover of the long shot, protector of the unprolific, defender of the hopelessly flamboyant, most unreasonably modest of born great artist-editors to accept this pretty skimpy-looking book.

Listen carefully to first criticisms made of your work. Note just what it is about your work that critics don't like - then cultivate it. That's the only part of your work that's individual and worth keeping.