Top 1200 Magazine Editors Quotes & Sayings

Omni is not a science magazine. It is a magazine about the future...Omni was sui generis. Although there were plenty of science magazines over the years...Omni was the first magazine to slant all its pieces toward the future. It was fun to read and gorgeous to look at.

People do judge books by their covers, and the magazine editors deciding whether to include your book on their pages are working in a visual medium. So if you're less than thrilled by the cover your publisher proposes, don't be afraid to ask for an alternate version. Odds are that they want you to be happy with the final product, anyway.

I wanted to work in Hollywood. I was captivated by it. I read 'Premiere Magazine' and 'Movieline Magazine' and 'Us' before it was a weekly magazine.

I was co-editor of the magazine called The Jazz Review, which was a pioneering magazine because it was the only magazine, then or now, in which all the articles were written by musicians, by jazz men. They had been laboring for years under the stereotype that they weren't very articulate except when they picked up their horn.

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

There's a curiosity about what magazine editors do, the behind-the-curtain experience.

I have great editors, and I always have. Somehow, great editors ask the right questions or pose things to you that get you to write better. It's a dance between you, your characters, and your editor.

When I was in college, I was the editor of the literary magazine and insisted neither the editors nor the writers be specifically identified-only our student numbers appeared on the title page. I love that idea and still do.

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.

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

I wrote poems in my corner of the Brooks Street station. I sent them to two editors who rejected them right off. I read those letters of rejection years later and I agreed with those editors.

When I was 14, I entered British Vogue's annual talent contest and got a special mention. I went up to London to meet the editors and wrote about it in my high school magazine.

What made the magazine so popular was, even before I started writing the philosophy, there was a point of view in the magazine.

Time magazine put Chris Christie on the cover with the caption, 'The Elephant in the Room.' And People magazine named him 'Sexiest Garbage Truck in a Suit.'

I was interested in creating things that I could be proud of and so, you know, I was interested in being an editor of a magazine, things that I could be proud of, and so, you know, I was interested in being an editor of a magazine, but in order to be an editor of a magazine I had to become a publisher as well. I had to pay the bills. I had to worry about the printing and the paper manufacturing and the distribution of that magazine.

The real literary editors have mostly been fired. Those that remain are all 'bottom line' editors; everything depends on the money.

Don't try to guess what sort of thing editors want to publish or what you think the country is in a mood to read. Editors and readers don't know what they want to read until they read it. Besides, they're always looking for something new.

I would proclaim that the vast majority of what [say, Scientific American] is true-yet my ability to defend such a claim is weaker than I would like. And most likely the readers, authors, and editors of that magazine would be equally hard pressed to come up with cogent, non-technical arguments convincing a skeptic of this point, especially if pitted against a clever lawyer arguing the contrary. How come Truth is such a slippery beast?

Some of the French surrealists at the beginning of the war had come over to New York and they brought out this magazine. It was a big, glossy magazine full of surrealist things.

Obviously, The Glamazon has been covered in every wrestling magazine known to man, including WWE Magazine, however, I've always wanted to do a fitness magazine.

I set up this magazine called Student when I was 16, and I didn't do it to make money - I did it because I wanted to edit a magazine. There wasn't a national magazine run by students, for students. I didn't like the way I was being taught at school. I didn't like what was going on in the world, and I wanted to put it right.

It's no surprise that the droll and (seemingly) all-knowing wizard behind the Chicago Style Q&A puts it all together-entertainingly-for manuscript editors in this real-world guide to job success and survival. The surprise is how urgent it is for every author, client, and boss who works with editors to embrace Carol Fisher Saller's 'subversiveness'-or suffer the next outcome from hell.

Once upon a time, gatekeepers were newspaper publishers and magazine editors and people who ran radio stations and news networks. And they decided what went above the fold and what went on page A10.

One of the things I regret is that magazines now are so lifestyle-orientated that the opportunity to do bigger projects is gone. This is a serious misjudgment on the part of magazine editors.

If you're interested in a 'Teen Vogue' internship, take note: it's not all fun and games! Working at a magazine requires a ton of energy and endurance from its interns and editors alike.

In September 2005, I was three things: the media blogger for 'FishbowlNY,' a maniacal Daily Show fan, and the only person to smuggle a tape recorder and camera into a big Magazine Publishers of America event featuring Jon Stewart interviewing five hotshot magazine editors in an unbelievable bloodbath.

I'm sketching ideas. They're a completely different way of working than working with editors at a magazine where you're always working with permission; approval. I'm willing to make a gentle separation. I still need to do that work since I enjoy it. It gives me access to a lot of energy in life and culture. But also, there's a part of me that is dark, sarcastic, funny. Unpredictable, even naughty.

I remember once when I was working on a magazine, and one of the male editors was going on a field trip with one of his sons. The office was full of, 'He's such a good dad,' whereas I came in late from a doctor's appointment for one of my children and was asked, 'Where were you? You'll need to make up the time.'

I think what we need, especially in publishing, is more commissioning editors and editors who are people of colour.

Online, you have things like Slate Magazine, which has a lot of commentary and analysis of stories, so it gives you a fuller picture. I would compare that to a news magazine or the New Republic.

The reason 99% of all stories written are not bought by editors is very simple. Editors never buy manuscripts that are left on the closet shelf at home.

Anyone who thinks designers don't talk to editors, and editors don't talk to stores doesn't know what's happening...It's called crossover, sampling all references in music, art and fashion.

The poems were the only thing I wrote that was not for everyone else. Then my editors at Penguin, who were also friends and had seen several of them, aggressively urged me to do a book. Editors can be aggressive, especially after drinks. That's how 'Beyond This Dark House' appeared.

As one of the first editors at 'Outside' magazine in 1975, it was my contention that most American writing going back to James Fennimore Cooper and then through Twain up to Hemingway had been outdoor writing. At that time, adventure writing meant stuff like 'Saga' or 'Argosy.' 'Death Race with the Jungle Leper Army!' That kind of thing.

For better or worse, editing is what editors are for; and editing is selection and choice of material. That editors newspaper or broadcast can and do abuse this power is beyond doubt, but that is no reason to deny the discretion Congress provided.

The magazine was being started by a company that had no experience in business magazine publishing. It was a little difficult to get people to sort of buy into it and to join the staff, but we did.

I have never had any problems with editors who wanted me to change my methods or point of view. I pay a lot of attention to editors, but in a different way. They sometimes catch mistakes and help with the order of poems in a book. I do not underestimate them! Indeed, I have been one myself.

That is the person you want publishing your book. To be in it, you really have to believe in books and love whatever it is you're publishing. Both on the book side and especially on the magazine side, I've had editors that I did not get the same feeling from. That feeling of, "This is something I believe in, I don't care how long, I'm going to publish it" - that kind of passion and commitment means a lot to you.

'Sports Illustrated' decided to have curvy women not only in their magazine but on the cover of their magazine. Now, that means size diversity is here, and it's real, and it's not a trend.

With 'California,' editors were reading it, and fast, and others were emailing my agent to request it. Ultimately, there were a few editors interested in the book, and it sold at auction about two weeks after the submission process started. I couldn't believe it!

There was a great magazine in the '80s called 'Cinemagic' for home moviemakers who liked to do monster and special effects movies. It was like a magazine written just for me.

The fact must never be forgotten that no magazine publisher in the United States could give what it is giving to the reader each month if it were not for the revenue which the advertiser brings the magazine.

My very first venture was a national student magazine to try to campaign against the [Vietnam] War. And so I wanted to be an editor. I wanted to bring the magazine out. And in order for the magazine to survive I had to worry about the printing and the paper manufacturing and the distribution. And, you know, I had to try to, at the end of the year, have more money coming in than going out.

That's absolutely true, but one problem with the digital revolution, which may tie into what I said earlier, is that there can be a collapse of quality. You may not have liked the decisions made by publishers in the past, you may not have liked the decisions made by magazine editors or newspaper editors in the past. At least there was some quality control

Does advertising corrupt editors? Yes it does, but fewer editors than you may suppose... the vast majority of editors are incorruptible.

I think I'm equally as abusive as the editors normally are for the "Letters and Tomatoes" column, which is the fan mail part of MAD Magazine and an ongoing feature.

If you look at any list of great modern writers such as Ernest Hemingway, William Faulkner, and F. Scott Fitzgerald, you'll notice two things about them: 1. They all had editors. 2. They are all dead. Thus we can draw the scientific conclusion that editors are fatal.

When you pick up your first magazine you definitely hope you can be like the guy on the magazine. That's usually why you start lifting.

I was an absent dad. Once the magazine started, I really had two families. The dream was the magazine. I worked through the night all the time.

'The Paris Review's mandate has been the same for fifty years. First and foremost, this magazine is for writers; the editors' task is to support and celebrate them, especially at the beginning of their careers, but also as they move forward, venturing stories that are creative, risky, new.

The cover story of the magazine [TIME magazine] depicting a few individuals who are acting contrary to most Myanmar, is creating misconceptions of Buddhism.

The trade magazine and all was banned in my house. The first time I read a film magazine was when I was 18.

When I was doing my research for 'Branded,' I'd meet groups of teenagers and preteenagers or tweens, and they would laugh at a magazine spread in a women's magazine or teen girl magazine and say, 'I'd never buy this outfit. I know these girls are starving themselves.' But they probably would go out and buy the thing eventually.

I think I've yet to do the big heave is because New York editors tend to think D.C. guys like me want to do political stories. And I hate politics for its own sake. Politics are so... I don't know, political. Which is an odd thing for a guy to say, I suppose, who has worked at a political magazine for fourteen years.

One of the things I liked about writing for a magazine was a kind of anonymity. When you do books, it's different than magazine pieces because you become a 'figure.'

Who are these bloggers? They're not trained editors at Vogue magazine. There are bloggers writing recipes that aren't tested that aren't necessarily very good, or are copies of what really good editors have created and done. Bloggers create a kind of a popularity but they are not the experts. We have to understand that.

I wrote a letter to the magazine [Time magazine] pointing out that [Richard] Corliss's comparison of Christopher Lee's Saruman to Osama Bin Laden, and the vastly outnumbered defenders of Helm's Deep united against the Orcs to the "Coalition of the Willing" fighting the good fight against Muslim hordes, displayed the simplistic, xenophobic, and arrogant worldview that makes the government of the United States feared and mistrusted around the world. The editors claimed they had no space to print my brief letter, which I felt was dishonest and cowardly.

It doesn't matter that millions read as long as you share it with somebody. So I don't really think about readers or editors. You especially should never think of editors - especially never think about reviewers.

In the newspaper business, I was in the last generation before the arrival of the personnel manager. You were hired by editors - and editors who would take a chance on what they perceived to be talent and not hire a resume.

I'm sitting in the bus station, minding my own business, reading 'Ta-Da!' magazine; a magazine by and for gay magicians, but that's a different story.