Editing Quotes

Apparently, my hopes, dreams and aspirations were no match against my poor spelling, punctuation and grammar.

You can edit what you write. Why not edit what you say? If it hurts somebody, you can still offer an apology or withdraw your statements

A professional writer is an amateur who didn't quit.

Border crossing' is a recurrent theme in all aspects of my work -- editing, writing, and painting. I'm interested in the various ways artists not only cross borders but also subvert them. In mythology, the old Trickster figure Coyote is a champion border crosser, mischievously dashing from the land of the living to the land of the dead, from the wilderness world of magic to the human world. He tears things down so they can be made anew. He's a rascal, but also a culture hero, dancing on borders, ignoring the rules, as many of our most innovative artists do. I'm particularly drawn to art that crosses the borders critics have erected between 'high art' and 'popular culture,' between 'mainstream' and 'genre,' or between one genre and another -- I love that moment of passage between the two; that place on the border where two worlds meet and energize each other, where Coyote enters and shakes things up. But I still have a great love for traditional fantasy, for Imaginary World, center-of-the-genre stories. I'm still excited by series books and trilogies if they're well written and use mythic tropes in interesting ways.

I am hard at work on the second draft ... Second draft is really a misnomer as there are a gazillion revisions, large and small, that go into the writing of a book.

The great correspondent of the seventeenth century Madame de Sevigne counseled, "Take chocolate in order that even the most tireome company seem acceptable to you," which is also sound advice today!

Only God gets it right the first time and only a slob says, "Oh well, let it go, that's what copyeditors are for.

Flow is something the reader experiences, not the writer.

It was a miracle to me, this transformation of my acorns into an oak.

We never end up with the book we began writing. Characters twist it and turn it until they get the life that is perfect for them. A good writer won't waste their time arguing with the characters they create...It is almost always a waste of time and people tend to stare when you do!

Style and voice are different. Style is standard conventions of writing; voice is the distinct way an individual puts words together. All good writers have a near-uniform understanding of style, but a voice all their own.

To me, the single biggest mark of the amateur writer is a sense of hurry.Hurry to finish a manuscript, hurry to edit it, hurry to publish it. It’s definitely possible to write a book in a month, leave it unedited, and watch it go off into the world and be declared a masterpiece. It happens every fifty years or so.For the rest of us, the single greatest ally we have is time. There’s no page of prose in existence that its author can’t improve after it’s been in a drawer for a week. The same is true on the macro level – every time I finish a story or a book, I try to put it away and forget it for as long as I can. When I return, its problems are often so obvious and easy to fix that I’m amazed I ever struggled with them.Amateur writers are usually desperate to be published, as soon as possible. And I understand that feeling – you just want it to start, your career, your next book, whatever. But I wonder how many self-published novels might have had a chance at getting bought, and finding more readers, if their authors had a bit more patience with them?

There's no point in writing my kind of stuff, when they're printing that kind of stuff. So I gave up and started drinking.

Isn't one of the first lessons of good elocution that there's nothing one can say in any rambling, sprawling rant that can't, through some effort, be said shorter and better with a little careful editing? Or that, in writing, there's nothing you can describe in any page-filling paragraph that can't be captured better in just a sentence or two? Perhaps even nothing in any sentence which cannot better be refined in a single, spot-on word? Does it not follow, then, that there's likely nothing one can say in any word - in saying anything at all - that, ultimately, isn't better left unsaid? (attrib: F.L. Vanderson)

In writing, there is art. And in art there is craft ...

There should be no crying in copyediting.

No words are too good for the cutting-room floor, no idea so fine that it cannot be phrased more succinctly.

Rather than trying to reinvent the wheel, build on to that which is already excellent.

Everything, indeed, in a work of art should be unedited,--and even the words, by the manner of grouping them, of shaping them to new meanings,--and one often regrets having an alphabet familiar to too many half-lettered persons.

I've found the best way to revise your own work is to pretend that somebody else wrote it and then to rip the living shit out of it.

In writing, there is art. And in art, there is craft ...

How do you end a story that’s not yours? Add another sentence where there is a pause? Infiltrate the story with a comma when really there should have been a period? Punctuate with an exclamation point where a period would have sufficed? What if you kill something breathing and breathe life into something the author wanted to eliminate? How do you get inside the mind of a person who isn’t there? Fill the shoes of someone who will never again fill his own?

Remove the comma, replace the comma, remove the comma, replace the comma...

There is a saying: Genius is perseverance. While genius does not consist entirely of editing, without editing it's pretty useless.

Edit your manuscript until your fingers bleed and you have memorized every last word. Then, when you are certain you are on the verge of insanity...edit one more time!

... The Book is more important than your plans for it. You have to go with what works for The Book ~ if your ideas appear hollow or forced when they are put on paper, chop them, erase them, pulverise them and start again. Don't whine when things are not going your way, because they are going the right way for The Book, which is more important. The show must go on, and so must The Book.

Don't be dismayed by the opinions of editors, or critics. They are only the traffic cops of the arts.

To The Critics Suicide has made more than one mediocre author glorious before he's able to achieve that sobering "second edition" making his a suicide that waits until it's justified. But I've taken more precautions against to Suicide which is to survive in the face of failure. Success is mostly editing, that's what makes things nice. To edit is the other great Power; thus this novel started at age 30, continued at 50 and its 73, has finally achieve supremacy: a person of Good Taste as the third author and as a result the editor of all three. In the end I'll be the author of a letter to the critics a sort of "open letter" but for the living: suicide is not something you can edit out.

Write when drunk. Edit when sober. Market it with the persistence of a drug peddler.

I'd known since girlhood that I wanted to be a book editor. By high school, I'd pore over the acknowledgments section of novels I loved, daydreaming that someday a brilliant talent might see me as the person who 'made her book possible' or 'enhanced every page with editorial wisdom and insight.' Could I be the Maxwell Perkins to some future Hemingway, Fitzgerald, Wolfe?

Making love to me is amazing. Wait, I meant: making love, to me, is amazing. The absence of two little commas nearly transformed me into a sex god.

Learn to enjoy this tidying process. I don't like to write; I like to have written. But I love to rewrite. I especially like to cut: to press the DELETE key and see an unnecessary word or phrase or sentence vanish into the electricity. I like to replace a humdrum word with one that has more precision or color. I like to strengthen the transition between one sentence and another. I like to rephrase a drab sentence to give it a more pleasing rhythm or a more graceful musical line. With every small refinement I feel that I'm coming nearer to where I would like to arrive, and when I finally get there I know it was the rewriting, not the writing, that wont the game.

Editors can be stupid at times. They just ignore that author’s intention. I always try to read unabridged editions, so much is lost with cut versions of classic literature, even movies don’t make sense when they are edited too much. I love the longueurs of a book even if they seem pointless because you can get a peek into the author’s mind, a glimpse of their creative soul. I mean, how would people like it if editors came along and said to an artist, ‘Whoops, you left just a tad too much space around that lily pad there, lets crop that a bit, shall we?’. Monet would be ripping his hair out.

[M]any people believe that memory works like a recording device. You just record the information, then you call it up and play it back when you want to answer questions or identify images. But decades of work in psychology has shown that this just isn't true. Our memories are constructive. They're reconstructive. Memory works a little bit more like a Wikipedia page: You can go in there and change it, but so can other people.

Books in the YA genre, in particular, should use proper grammar because they're more of an example to young people than adults books are.

Only the writers can change or fix the past by going back to edit old works

Put down everything that comes into your head and then you're a writer. But an author is one who can judge his own stuff's worth, without pity, and destroy most of it.", 1964)

Be a good editor. The Universe needs more good editors, God knows.

One of the hardest things for a writer to do is delete words.

The internet is killing the art of writing. The big "publish" button begs you to publish even before you go back and make one single edit, and as if this was not enough, you have instant readers who praise your writing skills!-

Editing fiction is like using your fingers to untangle the hair of someone you love.

When I'm writing, I make words my b*tch. But when I'm editing, the words make me their b*tch. It all equals out in the end.

It has been our experience that American houses insist on very comprehensive editing; that English houses as a rule require little or none and are inclined to go along with the author's script almost without query. The Canadian practice is just what you would expect--a middle-of-the-road course. We think the Americans edit too heavily and interfere with the author's rights. We think that the English publishers don't take enough editorial responsibility. Naturally, then, we consider our editing to be just about perfect. There's no doubt about it, we Canadians are a superior breed! (in a letter to author Margaret Laurence, dated May, 1960)

As an editor, you develop a B.S. meter—an internal warning system that signals caution about journalism that doesn't feel trustworthy. Sometimes it's a quote or incident that's too perfect —a feeling I always had when reading stories by Stephen Glass in the New Republic. Sometimes it's too many errors of fact, the overuse of anonymous sources, or signs that a reporter hasn't dealt fairly with people or evidence. And sometimes it's a combination of flaws that produces a ring of falsity, the whiff of a bad egg. There's no journalist who sets off my bullshit alarm like Ron Suskind.

You are an author! You will be a published author. Take pride in that, and present only your best work. Then, continue to improve, so your best gets even better.

So, at the turn of the third millennium, you have chosen to base your principles on a collection of contradictory texts – written by various men years after the death of your man Jesus – that have been edited and selected out of hundreds of other documents, and bound together into one hotchpotch volume, under the orders of a political primate, Pope Damasus. And, you’re still content to condemn the living love I feel here and now, because of that dusty accident of bad editing? Why?

Some of the most polished ideas are discovered through healthy, honest debate, so if you don't argue with yourself every once in a while, other people will gladly point out if, in any sense, you missed a spot.

Anyone and everyone taking a writing class knows that the secret of good writing is to cut it back, pare it down, winnow, chop, hack, prune, and trim, remove every superfluous word, compress, compress, compress...Actually, when you think about it, not many novels in the Spare tradition are terribly cheerful. Jokes you can usually pluck out whole, by the roots, so if you're doing some heavy-duty prose-weeding, they're the first to go. And there's some stuff about the whole winnowing process I just don't get. Why does it always stop when the work in question has been reduced to sixty or seventy thousand words--entirely coincidentally, I'm sure, the minimum length for a publishable novel? I'm sure you could get it down to twenty or thirty if you tried hard enough. In fact, why stop at twenty or thirty? Why write at all? Why not just jot the plot and a couple of themes down on the back of an envelope and leave it at that? The truth is, there's nothing very utilitarian about fiction or its creation, and I suspect that people are desperate to make it sound manly, back-breaking labor because it's such a wussy thing to do in the first place. The obsession with austerity is an attempt to compensate, to make writing resemble a real job, like farming, or logging. (It's also why people who work in advertising put in twenty-hour days.) Go on, young writers--treat yourself to a joke, or an adverb! Spoil yourself! Readers won't mind!

Verbose is not a synonym for literary.

[Women's magazines]ignore older women or pretend that they don’t exist; magazines try to avoid photographs of older women, and when they feature celebrities who are over sixty, ‘retouching artists’ conspire to ‘help’ beautiful women look more beautiful, ie less than their age...By now readers have no idea what a real woman’s 60 year old face looks like in print because it’s made to look 45. Worse, 60 year old readers look in the mirror and think they are too old, because they’re comparing themselves to some retouched face smiling back at them from a magazine.

If I’m asking what kind of ‘return’ I should be expecting on the sacrifices I’m making, I have in that question revealed the need to ‘return’ that question to wherever I found it and have the word ‘return’ edited out of it.

If someone doesn't understand the importance of sensitivity readers, chances are they may need them the most...

There is a kind of gaping admiration that would fain roll Shakespeare and Bacon into one, to have a bigger thing to gape at; and a class of men who cannot edit one author without disparaging all others.

If I can only write my memoir once, how do I edit it?

Writing is like riding a bike. Once you gain momentum, the hills are easier. Editing, however, requires a motor and some horsepower.

Most often when I stammerThat's my brainCorrecting my grammer.

As the trees turned red, then white, then naked as pitchforks, Margot and Xiao Chen immersed themselves in several forests' worth of pages, and I watched, tortured, as brick after brick of a new development was laid on the wasteland of Midtown West like slabs of gold bullion.

I'm writing a first draft and reminding myself that I'm simply shoveling sand into a box so that later I can build castles.

Writing without revising is the literary equivalent of waltzing gaily out of the house in your underwear.

I edit my own stories to death. They eventually run and hide from me.