A Quote by Tom Rosenstiel

Newspapers have been likened to steamships that move very slowly, in terms of their direction. And when a reporter is sent out on a story, if that reporter has his or her own personal standards and is given a certain amount of time, they're going to probably do as good a story yesterday or tomorrow as they did the day before yesterday when there was a different editor there. But an editor provides vision. An editor decides what's going to be on page one, what gets rewarded, who's given more time, who's given what beats. They set a direction.
Which editor? I can't think of one editor I worked with as an editor. The various companies did have editors but we always acted as our own editor, so the question has no answer.
Jim Rich is many different things but he has a great combination of a kind of old school tabloid reporter and editor's sense for what's a great story, but he's also incredibly passionate about social justice. I think Shaun King called him the most woke editor in American, if that's a compliment.
My last point about getting started as a writer: do something first, good or bad, successful or not, and write it up before approaching an editor. The best introduction to an editor is your own written work, published or not. I traveled across Siberia on my own money before ever approaching an editor; I wrote my first book, Siberian Dawn, without knowing a single editor, with no idea of how to get it published. I had to risk my life on the Congo before selling my first magazine story. If the rebel spirit dwells within you, you won't wait for an invitation, you'll invade and take no hostages.
It's great to create a story and then to submit it to your editor and see what her reaction is to it. It's great to have your editor tell what her suggestions and ideas for the story are. It's great to explain to your editor why her ideas and suggestions are bizarre and to ask her why is she trying to ruin my story.
It's all about who's where on the food chain. When I'm the story editor, I expect my writers to follow my vision. When I'm working for another editor, I'm obliged to follow their vision.
First of all I have to ask myself what am I trying to say and who am I trying to tell the story to. So if it's just 300 words going in the Independent it's very much where, what, who and when - fantastic. If there's a little bit more scope, if I've been given 1500 words by the sports editor, and I can have a little bit of fun, then I need to maybe entertain, include some different stuff.
But for me, being an editor I've been an editor of all kinds of books being an editor of poetry has been the way in which I could give a crucial part of my time to what I love most.
[Max Askeli] started this very good magazine [The Reporter]. In fact, Meg Greenfield, who's now the editorial page editor of The Washington Post, was one of the star reporters there.
There are similarities between being an editor and a tailor. Tailors have a vast supply of fabrics, buttons and thread at their disposal and put it together to make a whole. That's what an editor does - looks at society at a given time and pulls together the interesting aspects into a single issue each month.
I lived through a classic publishing story. My editor was fired a month before the book came out. The editor who took it over already had a full plate. It was never advertised. We didn't get reviewed in any major outlets.
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 usually submit a novel at a certain number of words, and when I've finished working with my editor, the novel is longer than when I submitted it. I need my editor to help me open up the story.
Reporters have a different point of view and a different job. Consequently, to the extent that you can help them turn in an interesting story that their editor is going to like and that's going to further their careers, they're going to give you more ink and cover you.
I sent The World Well Lost to one editor who rejected it on sight, and then wrote a letter to every other editor in the field warning them against the story, and urging them to reject it on sight without reading it.
You can give the greatest performance possible, but if you don't have a director who's pointing the camera in the right direction and an editor who's editing it properly, it doesn't matter what you do. The director and the editor are the most important people. Not the actors. Sometimes the writer is important. But if you don't have a good director, you can't have a good production.
I come out of journalism, and then book writing. There, it's just you and your editor and maybe a copy desk, looking over your editor's shoulder, and that's the story. It's right there. I can show it to you because it's on paper.
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