Issue link: https://digital.copcomm.com/i/1536017
build an extensive career in editing. Chap- ter One deals with "Getting Started," Two with "Sticking It Out," Three with "Finding Success," and Five — as so many editors wind up doing — "Starting Again." In each chapter, Rosenberg uses various approach- es to get to the good and not- so - good realities of working as an editor. For example, Chapter One begins with a personal essay by Yu Jung Hou, "Could we Please Talk About Assistant Editing?" After graduating from USC film school in 2015, she worked in cutting rooms for 10 years and shares an anecdote familiar to many editors: "My very own parents still don't know what editors do, let alone assistant editors." Hou, like most of the book's con- tributors, writes in a clear and candid way, well aware of the missteps and mistakes as well as successes during what I always call "the 10-year struggle from film school to overnight success." To conclude, the first chapter offers a report on the specific responsibilities of assistant editors and advice from editor Toi Juan Shannon: "The personality of an editor is if you were the kind of kid that enjoyed 1000-piece jigsaw puzzles, then you probably have the forti- tude and patience to be an editor." It would be a mistake for seasoned professionals to miss this book. The insider stories that dot the pages will bring a know- ing chuckle (or grimace) to those who have spent many, many hours in editing rooms. Seasoned editor Bill Yahraus, who left ed- iting as a full-time gig to shoot, direct, and edit his own documentaries, recalls being hired by producers to work with first-time John Rosenberg. 41 S U M M E R Q 2 I S S U E B O O K R E V I E W Enjoyed 1000 piece jigsaw puzzles? You can be an editor.