Very few editors worry about heresy - their goals are much too commercial, thank goodness.

I try to help people become the best possible editors of their own work, to help them become conscious of the things they do well, of the things they need to look at again, of the wells of material they have not even begun to dip their buckets into.

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.

Try to meet as many authors, agents, and editors as you can.

There are two kinds of editors, those who correct your copy and those who say it's wonderful.

The first version of The Beautiful Room Is Empty was the first mss. I'd ever submitted to New York editors.

I've had editors over the years who couldn't find a clue if it was stapled to their butt.

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.

Only kings, presidents, editors, and people with tapeworms have the right to use the editorial "we."

Newspaper editors are men who separate the wheat from the chaff, and then print the chaff.

Writers would submit scripts to me, and if I liked one well enough to submit to magazine editors, I had the know-how whether the story was good or bad.

The publisher has told - you know, if these editors, Andres Martinez and Nick Goldberg, were the least bit honest about this, they would tell you the publisher has told them he wants the editorial page to be conservative.

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.

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.

I guess if one set of my books was selling like Stephen King's, and the other wasn't selling at all, editors would want me to do the ones that sold like Stephen King's. But they seem to be willing to let me pick what I want to do next.