Editorial Role Quotes

I'm a big fan of political editor Allegra Stratton.

A Fourth Estate, of Able Editors, springs up.

Radio stations provided a service. They weeded out the stuff that no one should ever have to even think about. Now, they made mistakes and they made mistakes with me even but, by and large, they provided a service. They were an editor.

Some artists, such as Jack Kirby, need no plot at all. I mean I'll just say to Jack, "Let's let the next villain be Dr. Doom" ... or I may not even say that. He may tell me. And then he goes home and does it. He's so good at plots, I'm sure he's a thousand times better than I. He just makes up the plots for these stories. All I do is a little editing ... I may tell him that he's gone too far in one direction or another. Of course, occasionally I'll give him a plot, but we're practically both the writers on the things.

Editing should be, especially in the case of old writers, a counselling rather than a collaborating task. The tendency of the writer-editor to collaborate is natural, but he should say to himself, 'How can I help this writer to say it better in his own style?' and avoid 'How can I show him how I would write it, if it were my piece?'

The thing with newspapers is that they are a filter. We're relying on the editors of that paper to be a filter and to tell you that this is worth reading about, this is quality, and this is quite reliable.

Without editors planning assignments and copy editors fixing mistakes, reporters quickly deteriorate into underwear guys writing blogs from their den.

I very much wanted to be editor of the 'New Statesman!' But I never wanted to be prime minister, except maybe as a little boy.

So I became a publisher by mistake - well, not quite by mistake, because I wanted to be an editor but I had to make sure the magazine would survive. The point is this: Most businesses fail, so if you're going to succeed, it has to be about more than making money.

When someone calls me a blogger, I think, 'That's one of the things I used to do.' I'm a creative director for my shoe brand; I'm the editor-in-chief of 'The Blonde Salad,' which is a website and not just a blog anymore.

I worked at my high school newspaper at Andover, which came out weekly, unusual for a high school paper. Then my first day at Penn I went right to the 'Daily Pennsylvanian' and pretty much spent most of my college career working both as the sports editor and then editor of the editorial page.

After university, I got a job sub-editing and for years I was a literary editor.

I used to work as a proofreader at Merrill Lynch.

A very good editor is almost a collaborator.

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.

For while agents and editors often misunderstand their market and sometimes reject good or even great works, they do prevent a vast quantity of truly execrable writing from being published.

Most of my success, I feel, comes from being a good editor as opposed to a great writer.

I think, from a standpoint of editorial, you know, AOL historically has played in a very deep way across many different verticals in the content space. Huffington Post adds a very large new dimension to that.

I am proud, and more than a little excited, to be asked to work with Faber in an editorial capacity. It is my dearest hope that we will produce some fantastic books together.

My publisher, who was so good as a taster and editor, when she became a writer, lo and behold, it was all this feminine tosh.

I just fell into the job as a fashion editor at a teen magazine. I was there for two years, and I left there as a senior fashion editor at the age of 25.

What's more important than who's going to be the first black manager is who's going to be the first black sports editor of the New York Times.

I got that experience through dating dozens of men for six years after college, getting an entry level magazine job at 21, working in the fiction department at Good Housekeeping and then working as a fashion editor there as well as writing many articles for the magazine.

First, I was a fact checker for Zagat and then I was an editorial assistant for HarperCollins publishing house.

One of the things I like about publishing is that you don't promote the editor - you promote the book and the author.