Quotes About Editing

BLOOM: As far as I'm concerned, computers have as much to do with literature as space travel, perhaps much less. I can only write with a ballpoint pen, with a Rolling Writer, they're called, a black Rolling Writer on a lined yellow legal pad on a certain kind of clipboard. And then someone else types it. INTERVIEWER: And someone else edits? BLOOM: No one edits. I edit. I refuse to be edited.

I don't find writing easy. That is because I do take great care; I rewrite a lot.

I like to edit my sentences as I write them. I rearrange a sentence many times before moving on to the next one. For me, that editing process feels like a form of play, like a puzzle that needs solving, and it's one of the most satisfying parts of writing.

We may have our own ideas in the writing and editing stages, but we work out those disagreements in a constructive way.

In live-action, writing, production, and editing happen in discrete stages. In animation, they overlap - happening simultaneously. This allows a real dialogue to occur between the writer, the director, the actors, and the editor, and it makes the writing process a lot more collaborative and a lot less lonely.

I grew up on film sets but more around the process of making films. I saw a lot of the editing process and the writing process, which takes years. That really affected me growing up, that side of it.

Of course, when you're making a documentary, you don't have actors, but nonetheless, there is a writing process that does take place in the editing room.

It's not writing in the traditional sense, but I've always said that the writing process continues on the set and even into the editing room.

Easy reading is damn hard writing. But if it's right, it's easy. It's the other way round, too. If it's slovenly written, then it's hard to read. It doesn't give the reader what the careful writer can give the reader.

Books aren't written - they're rewritten. Including your own. It is one of the hardest things to accept, especially after the seventh rewrite hasn't quite done it.

Computers absolutely changed my life. Before I had a computer, I had never written one thing. Not one thing. I'm a very bad speller and I was embarrassed by that. When I would type, the little mistakes would make me nutty, and I would never edit anything.

I think the computer is a hindrance to good writing because it is so tempting to leave what you've written. If you use a typewriter, you must retype if you make a mistake, and thus, you must re-examine every word.

When you're stuck, and sure you've written absolutely garbage, force yourself to finish and then decide to fix or scrap it - or you will never know if you can.

I don't think anything I've written has been done in under six or eight drafts. Usually it takes me a few years to write a book. 'World's Fair' was an exception. It seemed to be a particularly fluent book as it came. I did it in seven months. I think what happened in that case is that God gave me a bonus book.

Another thing that's quite different in writing a book as a practicing newspaperman is that if you look at what you've written the next morning and you think you didn't get it quite right, you can fix it.

I no longer do a film for the wrong reasons. I have to be convinced ethically and morally. Both the director and I have to be on the same page. There are just five songs in most films these days, and they have to be amazing. There has to be a twist in the screenplay. The editing has to be crisp. Your hard work should show, but effortlessly.

'Writing' is the wrong way to describe what happens to words in a movie. First, you put down words. Then you rehearse them with actors. Then you shoot the words. Then you edit them. You cut a lot of them, you fudge them, you make up new ones in voice-over. Then you cut it and throw it all away.

You can spend hours editing an email but send it as if you wrote it in a minute.

All my editors since Malcolm Cowley have had instructions to leave my prose exactly as I wrote it. In the days of Malcolm Cowley, with 'On the Road' and 'The Dharma Bums', I had no power to stand by my style for better or for worse.

One second here and there will make all the difference between something being funny and not being funny. That's why I like going, 'Well, we wrote that six months ago, and it was funny one time we read it, but it's not funny anymore. So what? Just dump it.'

Brahms believed that there was no need to publish absolutely everything that Schubert ever wrote.

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.

So I'll write it, and then I'll find out that I actually wrote something that is utterly useless. You can't use it in the story and it doesn't fit. So I just throw it away. I've done that countless times.

No one leaves the edit room thinking, 'Yeah, I nailed that one!' Everyone I know goes into their first premiere or their first screening thinking, 'I screwed up so bad. I'm sorry, I messed up.' It's just a real common feeling.