Editorial Experience Quotes

I studied writing at university, and I actually majored in screenwriting. Then I went to work as a bookseller and then as a sales rep and publicist and then various editorial jobs until I ended up with HarperCollins in Australia.

By the time I came to the States, I really understood how a magazine works. I came to 'Vogue' as creative director, and three years later I went back to London to be editor in chief of British 'Vogue.'

After Ann Godoff, who was editor-in-chief at Random House, left and went to Viking, I got to know Viking and the people there, and liked them very much. I also found a wonderful editor there, Wendy Wolf. It's a very congenial press.

My first job out of college was as an editorial assistant in a New York publishing house. Being an editorial assistant is the purgatory would-be editors must endure before they can ascend the ladder and begin acquiring books on their own. I spent a year filing paperwork, writing copy, and typing rejection letters.

I have known Boris Johnson since 2004. I wrote the first big profile about him in the American press. I've been edited by him when he ran the Spectator. I know his family.

I stayed at 'Cosmo' well beyond my internship, moving up the ranks over some 15 years to become books editor, then brand director, then editor-at-large - editing everything from an excerpt of Gore Vidal's memoir to writing some of those juicy cover lines myself.

I knew that I was a good writer in high school and won awards, and I was the editor of my school newspaper. So I knew that I was a good writer and I wanted to somehow capitalize and sort of utilize a talent that I thought I had.

I think editors have to come out of a certain kind of community.

An experienced slush-pile reader doesn't need more than a few seconds to see if a story has potential. You don't need to eat all of a rotten egg to determine that it's rotten.

We sometimes received - and I would read - 200 manuscripts a week. Some of them were wonderful, some were terrible; most were mediocre. It was like the gifts of the good and bad fairies.

Three-quarters of our sites - Kotaku, Gawker, Jezebel, Deadspin, Gizmodo, Lifehacker - are led by editors who built their careers within Gawker Media. That's the career path.

In law school, I earned the respect of professors and served on the editorial board of 'The Yale Law Journal.'

I had a great editor, Rebecca Corbett, from the time I was a city reporter right through to the years I worked on the 'Sun's' enterprise reporting team.

I knew that I wanted to intern at 'Teen Vogue' from the moment the first issue hit newsstands. Luckily, the team at Polo Ralph Lauren, where I interned during high school, really believed in me and arranged for an interview with the editors.

Melissa Biggs Bradley spent a decade as Travel Editor of 'Town & Country,' and later served as the founding editor of 'Town & Country Travel.' She then launched Indagare Souk, an online marketplace of global treasures.

I had grown up as a feature writer, and basically my career had been in The National Lampoon and as a magazine editor, and I'd never been a reporter.

My first company produced 'Silicon Alley Reporter' magazine, where I held the dual titles of CEO and Editor.

In 1988, before I'd written a word for a car magazine or stood in front of a camera, I was a subeditor on 'The Engineer.'

I feel like I have more experience with publishing humor than pretty much any editor I'm going to be dealing with so sometimes I'll get a little bit nuts if I write something I know is good a certain way, and some editor because of some restriction he has and wants to change it that I know is going to make it less funny that'll piss me off and then I'm inclined to go, "Well, hey I've been doing this a long time, maybe you should..." That doesn't happen that often, but I'm more likely to say that now than I would have been a long time ago. Because dammit, I'm infallible!

I have been an editor at Commentary for a number of years and the thing that we all agree about is that we are much better at identifying problems than at solving them.

I was the executive editor on a little magazine called Greek Accent, whose only claim to fame is that its art director went on to be the art director of Discover for many years.

We were constantly appealing for funds from readers when I edited 'The Black Dwarf' in 1968-69.

People think you get one idea for a cartoon every week, and that's not the way it works. You usually get 10 or 15, and you're - certainly when I was a cartoonist, before I was a cartoon editor, you're rushing to do what is called the batch. When I was doing that, I liked to have, in general, about 10 cartoons.