Inspirational quotes with editorial.
How could this be so, I wondered, as I read Mr. Underwood's editorial. Senseless killing--Tom had been given due process of law to the day of his death; he had been tried openly and convicted by twelve good men and true; my father had fought for him all the way. Then Mr. Underwood's meaning became clear: Atticus had used every tool available to free men to save Tom Robinson, but in the secret courts of men's hearts Atticus had no case. Tom was a dead man the minute Mayella Ewell opened her mouth and screamed.
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)
From Martin Eden on submitting manuscripts: "There was no human editor at the other end, but a mere cunning arrangement of cogs that changed the manuscript from one envelope to another and stuck on the stamps. It was like the slot machines wherein one dropped pennies, and, with a metallic whirl of machinery had delivered to him a stick of chewing-gum or a tablet of chocolate. It depended upon which slot one dropped the penny in, whether he got chocolate or gum. And so with the editorial machine. One slot brought checks and the other brought rejection slips. So far he had found only the latter slot.
Good editorial writing has less to do with winning an argument, since the other side is mostly not listening, than with telling the guys on your side how they ought to sound when they're arguing.
Once I am at leisure, said Salvatore, I take refuge in prose as one might in a boat. All day long I am surrounded by the clamour on the editorial floor, but in the evening I cross over to an island, and every time, the moment I read the first sentences, it is as if I were rowing far out on the water. It is thanks to my evening reading alone that I am still more or less sane.
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?
The most cursory examination of even the most progressive organs of information reveals a curious inability to recognize women as newsmakers, unless they are young or married to a head of state or naked or pregnant by some triumph of technology or perpetrators or victims of some hideous crime or any combiniation of the above. Women's issues are often disguised as people issues, unless they are relegated to the women's pages which amazingly still suvive. Senior figures are all male; even the few women who are deemed worthy of obituaries are shown in images from their youth, as if the last fourty years of their lives have been without achievement of any kind. If you analyse the by-lines in your morning paper, you will see that the senior editorial staff are all older men, supported by a rabble of junior females, the infinitely replacesable 'hackettes'.
Except... what Jesus said was: "I will build My church," not you. The verse is not a prediction, it is a proclamation of the Lord of the Earth, who never once talked of "children in subjection." or "wives be grave... sober, faithful in all things." In fact, reading the New Testament from the Gospels into Paul's letters, is like watching the Wizard of Oz backwards -- going from a world of color and amazement, into a land of black-and-white with insane devout women trying to kill your dog. -- editorial 2014
...that out of the quarrel with others we produce rhetoric, matter for the editorial page, while out of the quarrel with ourselves we create art.
He sank back into his black-and-white world, his immobile world of inanimate drawings that had been granted the secret of motion, his death-world with its hidden gift of life. But that life was a deeply ambiguous life, a conjurer's trick, a crafty illusion based on an accidental property of the retina, which retained an image for a fraction of a second after the image was no longer present. On this frail fact was erected the entire structure of the cinema, that colossal confidence game. The animated cartoon was a far more honest expression of the cinematic illusion than the so-called realistic film, because the cartoon reveled in its own illusory nature, exulted in the impossible--indeed it claimed the impossible as its own, exalted it as its own highest end, found in impossibility, in the negation of the actual, its profoundest reason for being. The animated cartoon was nothing but the poetry of the impossible--therein lay its exhilaration and its secret melancholy. For this willful violation of the actual, while it was an intoxicating release from the constriction of things, was at the same time nothing but a delusion, an attempt to outwit mortality. As such it was doomed to failure. And yet it was desperately important to smash through the constriction of the actual, to unhinge the universe and let the impossible stream in, because otherwise--well, otherwise the world was nothing but an editorial cartoon.
As a recent editorial in the Journal of Clinical Oncology put it: "What we must first remember is that the immune system is designed to detect foreign invaders, and avoid out own cells. With few exceptions, the immune system does not appear to recognize cancers within an individual as foreign, because they are actually part of the self.
I'll call any length of fiction a story, whether it be a novel or a shorter piece, and I'll call anything a story in which specific characters and events influence each other to form a meaningful narrative. I find that most people know what a story is until they sit down to write one. Then they find themselves writing a sketch with an essay woven through it, or an essay with a sketch woven through it, or an editorial with a character in it, or a case history with a moral, or some other mongrel thing. When they realize that they aren't writing stories, they decide that the remedy for this is to learn something that they refer to as "the technique of the short story" or "the technique of the novel." Technique in the minds of many is something rigid, something like a formula that you impose on the material; but in the best stories it is something organic, something that grows out of the material, and this being the case, it is different for every story of any account that has ever been written.
When your view is criticized or even ridiculed on television, on radio talk show, or in a newspaper editorial, don't just react angrily. Take a moment to jot down on paper the person's main thesis and how that thesis was supported. Then do two things. First, assume the person is expressing at least some good points and try to identify them. This assumption may be false, but the search for common ground with intellectual opponents is a good habit. In the process of identifying these good points, try to argue against your own view. Second, try to state on paper exactly how you would argue against the view being expressed in an intellectually precise yet emotionally calm way.
Excerpt from Ursula K Le Guin's speech at National Book AwardsHard times are coming, when we’ll be wanting the voices of writers who can see alternatives to how we live now, can see through our fear-stricken society and its obsessive technologies to other ways of being, and even imagine real grounds for hope. We’ll need writers who can remember freedom – poets, visionaries – realists of a larger reality.Right now, we need writers who know the difference between production of a market commodity and the practice of an art. Developing written material to suit sales strategies in order to maximise corporate profit and advertising revenue is not the same thing as responsible book publishing or authorship.Yet I see sales departments given control over editorial. I see my own publishers, in a silly panic of ignorance and greed, charging public libraries for an e-book six or seven times more than they charge customers. We just saw a profiteer try to punish a publisher for disobedience, and writers threatened by corporate fatwa. And I see a lot of us, the producers, who write the books and make the books, accepting this – letting commodity profiteers sell us like deodorant, and tell us what to publish, what to write.Books aren’t just commodities; the profit motive is often in conflict with the aims of art. We live in capitalism, its power seems inescapable – but then, so did the divine right of kings. Any human power can be resisted and changed by human beings. Resistance and change often begin in art. Very often in our art, the art of words.I’ve had a long career as a writer, and a good one, in good company. Here at the end of it, I don’t want to watch American literature get sold down the river. We who live by writing and publishing want and should demand our fair share of the proceeds; but the name of our beautiful reward isn’t profit. Its name is freedom.
Egotorial: An editorial in broadcasting or print media where the subject matter is secondary to the superficial, pretentious, antagonistic, or materialistic ego of the author.
Egotorial: An editorial in broadcasting or print media where the subject matter is secondary to the superficial, pretentious, or materialist ego of the author.
Heinlein's Rules for Writers Rule One: You Must WriteRule Two: Finish What Your StartRule Three: You Must Refrain From Rewriting, Except to Editorial OrderRule Four: You Must Put Your Story on the MarketRule Five: You Must Keep it on the Market until it has Sold
Information or allegations reflecting negatively on individuals or groups seen less sympathetically by the intelligentsia pass rapidly into the public domain with little scrutiny and much publicity. Two of the biggest proven hoaxes of our time have involved allegations of white men gang-raping a black woman-- first the Tawana Brawley hoax of 1987 and later the false rape charges against three Duke University students in 2006. In both cases, editorial indignation rang out across the land, without a speck of evidence to substantiate either of these charges. Moreover, the denunciations were not limited to the particular men accused, but were often extended to society at large, of whom these men were deemed to be symptoms or 'the tip of the iceberg.' In both cases, the charges fit a pre-existing vision, and that apparently made mundane facts unneces
In his recent guest editorial, Richard McNally voices skepticism about the National Vietnam Veteran’s Readjustment Study (NVVRS) data reporting that over one-half of those who served in the Vietnam War have posttraumatic stress disorder (PTSD) or subclinical PTSD. Dr McNally is particularly skeptical because only 15% of soldiers served in combat units (1). He writes, “the mystery behind the discrepancy in numbers of those with the disease and of those in combat remains unsolved today” (4, p 815). He talks about bizarre facts and implies many, if not most, cases of PTSD are malingered or iatrogenic. Dr McNally ignores the obvious reality that when people are deployed to a war zone, exposure to trauma is not limited to members of combat units (2,3). At the Operational Trauma and Stress Support Centre of the Canadian Forces in Ottawa, we have assessed over 100 Canadian soldiers, many of whom have never been in combat units, who have experienced a range of horrific traumas and threats in places like Rwanda, Somalia, Bosnia, and Afghanistan. We must inform Dr McNally that, in real world practice, even cooks and clerks are affected when faced with death, genocide, ethnic cleansing, bombs, landmines, snipers, and suicide bombers ...One theory suggests that there is a conscious decision on the part of some individuals to deny trauma and its impact. Another suggests that some individuals may use dissociation or repression to block from consciousness what is quite obvious to those who listen to real-life patients." Cameron, C., & Heber, A. (2006). Re: Troubles in Traumatology, and Debunking Myths about Trauma and Memory/Reply: Troubles in Traumatology and Debunking Myths about Trauma and Memory. Canadian journal of psychiatry, 51(6), 402.
It takes a lot of moola to fool around with national magazines, regardless of their politics. It takes even more if the paper is hell bent on shoving a hot poker up the rear end of the Establishment, as that editorial posture is not conducive to a massive influx of advertising dollars...a lot of people on the left still cherish the idea that Ramparts went under because I bought people drinks.
The advertisements in a newspaper are more full of knowledge in respect to what is going on in a state or community than the editorial columns are.
The editorial job has become unlike the ancient age when one judged what one read a job of making judgements on outlines ideas reputations previous books scenarios treatments talk and promises.
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