I remember a passage in Goldsmith's "Vicar of Wakefield," which he was afterwards fool enough to expunge: "I do not love a man who is zealous for nothing.
David Burnett was the son of Martha Foley, who edited the Best American Short Stories series. She hired me to work with David and her to read stories for the anthology.
Rewriting is a large part of the whole job. And get rid of stuff that's not working. Just pare it down until it's a beautiful thing you can hand in, probably late, to your editor.
I wrote for a weekly magazine and then edited a literary magazine, but I did not really feel comfortable with the profession of journalism itself.
But for me, being an editor I've been an editor of all kinds of books being an editor of poetry has been the way in which I could give a crucial part of my time to what I love most.
My parents were in the book business, my brothers still run the Dutton bookstores in Los Angeles, and I've been interested in editing books and journals all of my life.
Prune what is turgid, elevate what is commonplace, arrange what is disorderly, introduce rhythm where the language is harsh, modify where it is too absolute.
I feel sorry for people who have to edit me. Which is why book writing is by far the most enjoyable. Really the only thing it's based on is whether it's good or not. No book editor, in my experience, is getting a manuscript and try to rewrite it.
In the mid-nineties, I quit my job as a senior feature writer at 'The Mail' on Sunday in the U.K. and became a 'ghost writer,' collaborating with politicians, pop stars, psychologists, soldiers and sporting legends who needed help in penning their autobiographies.
Some authors have a very hard time understanding that in order to be faithful to the spirit of the book, it's almost always impossible to remain faithful to the text. You have to make changes.
As any competent student of literary composition knows, the more natural and casual a voice sounds in print, the more likely it is to have been edited time and again.
And we must beg Homer and the other poets not to be angry if we strike out these and similar passages, not because they are unpoetical, or unattractive to the popular ear, but because the greater the poetical charm in them, the less are they meet for the ears of boys and men who are meant to be free, and who should fear slavery more than death.
It is my contention that a really great novel is made with a knife and not a pen. A novelist must have the intestinal fortitude to cut out even the most brilliant passage so long as it doesn't advance the story.
First drafts are for learning what your novel or story is about. Revision is working with that knowledge to enlarge and enhance an idea, to re-form it.... The first draft of a book is the most uncertain-where you need guts, the ability to accept the imperfect until it is better.
I bristle at the implication that only with the help of a Big Six editor does a novel lose its self-indulgent aspects. Before the advent of self-publishing, there were plenty of self-indulgent novels on the shelves.
When I first started editing a 'Year's Best' volume in the '70s, the job was pretty straightforward - there were three or four monthly magazines to read and a few original anthologies from trade publishers every year.
After my husband spell-checks one of my manuscripts, my editor says, 'It's been Normanized.'
Writing a book is usually a full-time job that takes years. I didn't have years. So I decided to crowdsource content for the book.
As a senior editor at Tor Books and the manager of our science fiction and fantasy line, I rarely blog to promote specific projects I'm involved with, for reasons that probably don't need a lot of explanation.
I was unnerved to learn in my twenties that the poems of Emily Dickinson that I had memorized as a girl were not the poems as she had written them.
I actually thought I wanted to be Thomas Wolfe, but I didn't have the talent. So I thought I could edit Thomas Wolfe.
In my own work, I usually revise through forty or fifty drafts of a poem before I begin to feel content with it.
I was working at the 'Evening Standard' when I heard that there was a job going as deputy literary editor on the 'New Statesman.' I remember thinking, 'That's perfect.' It was three days a week, and I had children, but I could make that work - so I applied for it and got it.
Then, rising with Aurora's light, The Muse invoked, sit down to write; Blot out, correct, insert, refine, Enlarge, diminish, interline.
After I've sent my revised draft to my agent and editor, they suggest more improvement sand again, this revision phase can take anywhere from a few hours to a few months.
