Editor Feedback Quotes

I always read what I write out loud, and I did that long before any radio thing. My editor finds that unusual.

When new pages are sent to editors and see rejection, we should ask for the reasons. We must study the reasons for failure and learn. It's not about struggle with our limitations or with public or the publishers. It's more about treating it like in aikido; the strength of the attack is used to defeat him with the same effort.

The main thing is that you have a good editor - one that believes in you and who will give you the feedback that you need to produce a good book.

I've often said to myself, "Thank God I can write, 'cause this is hilarious." I actually wanted to go into all that more in the book, but my editor thought it was too crazy.

I wrote a query letter to an editor - a friend of a friend. The editor called me an idiot, told me never to contact an editor directly, and then recommended three literary agents he had worked with before. Laurie Fox was one of them, and I've never looked back.

I studied philosophy, religious studies, and English. My training was writing four full-length novels and hiring an editor to tear them apart. I had enough money to do that, and then rewriting and rewriting and rewriting.

When coming up with Wonder Woman cover designs, sometimes people will pitch ideas to me, either the writer or the editor. And it's interesting, because I know they're not trying to, but they end up pitching things that end up feeling like damsel-in-distress covers, where the tension comes from her needing to be rescued somehow. And it's something I immediately push back against.

If you write something and they all tell you it is bad - editors, critics, everybody - think it over and you may become convinced that they are right (though you are not to be ashamed or discouraged for a minute, but keep on writing).

I think I became a better writer after I started writing for the New Yorker. Well, I know I did. And part of it was having my New Yorker editor and part of it is that was when I started really going on tour and reading things in front of an audience 30 times and then going back in the room and rewriting it and reading it and rewriting it. So you really get the rhythm of the sentences down and you really get the flow down and you get rid of stuff that's not important.

The best compliment came from Knopf's Sonny Mehta. We were at lunch in New York with my editor, Gary Fisketjon, it was my first time meeting Sonny, and after ordering our food, he turned to me and said, 'Adam, I read 'Mr. Peanut' in two days; every page surprised me, and that, I can assure you, doesn't happen often.'

'Something Borrowed' was initially titled 'Rolling the Dice,' but my editor said it sounded like a men's gambling memoir.

I wrote poems in my corner of the Brooks Street station. I sent them to two editors who rejected them right off. I read those letters of rejection years later and I agreed with those editors.

As a writer, you write the book, you give it to your editor, it's copy edited, it's published, it's thrown out there, and then there's a response.

Asking myself, 'Is this any good?' is pointless. It just slows down my writing, and I can't tell anyway. It's always the paragraphs I loved most, the ones I tenderly polished and re-read with pride, that my editor will suggest cutting.

You always want to go out there with the best book possible, so I listen to what my editors say, and even if they don't know how to fix it, I always seem to find a way. 'Trust Your Eyes' is the best book I've written, and I don't know if I can do any better.

Publishing your work is important. Even if you are giving a piece to some smaller publication for free, you will learn something about your writing. The editor will say something, friends will mention it. You will learn.

When I began to write and used a typewriter, I went through three drafts of a book before showing it to an editor.

After writing each novel, I would spend days poring over suggestions from my editor.

The most-asked question when someone describes a novel, movie or short story to a friend probably is, 'How does it end?' Endings carry tremendous weight with readers; if they don't like the ending, chances are they'll say they didn't like the work. Failed endings are also the most common problems editors have with submitted works.