If you go to a big publishing house, editorial aside, it’s completely white.
We exercise great caution in airing an audio- or videotape released by a terrorist organization holding a hostage. These are decisions made by CNN’s editorial staff and not by any third party.
I made it clear when the Barclays took over the ‘Telegraph’ that I wanted no editorial position there. There is no way I could take a high-level editorial position at the papers. I have my work for the BBC, and that would be compromised if I did.
I was painting sets, working in editorial as an assistant, driving their trucks, lying that I knew how to drive a truck, and doing commercials and documentaries.
I first met Susan Sontag in spring 1976 when she was recovering from cancer surgery and needed someone to help type her correspondence. I had been recommended by the editors of ‘The New York Review of Books,’ where I’d worked as an editorial assistant.
Back in the day I was doing runway, editorial, advertising, spokesmodeling, and public appearances. Those are five different categories.
There is too much illustrating of the news these days. I look at many editorial cartoons and I don’t know what the cartoonists are saying or how they feel about a certain issue.
I like doing the editorial stuff because it’s nice to do something that’s more me. But modeling for brands and the things to make money… I guess I don’t really like being the mannequin. It’s a very strange concept.
I have seen journals with good financial backing and editorial support die because they looked so bad nobody wanted to publish them.
Only kings, presidents, editors, and people with tapeworms have the right to use the editorial ‘we.’
And the big issue here, I think, is that the publisher took over the editorial pages, a guy named Jeff Johnson. He’s an accountant from Chicago, doesn’t know anything about what newspapers are supposed to be about, and he made a decision to get rid of the column.
The Business’ has been an editorial success, with a core audience that loves it. But commercially it has never been a success as a newspaper. It just gets crowded out on a Sunday.
The advertisements in a newspaper are more full knowledge in respect to what is going on in a state or community than the editorial columns are.
Social media is key to promoting the editorial posts on my website.
I know real people, whose names I could tell you, people I know who have said ‘I’ve stopped buying the New York Times.’ Why? Because their editorial position has filtered, has leached into the news pages.
Now, if they’re there to talk about something specifically, and I determine through my own editorial judgment, that another area isn’t germane, or isn’t an important part of it, that’s something else. But we never agree to anything in advance, absolutely not.
If the nineteenth century was the age of the editorial chair, ours is the century of the psychiatrist’s couch.
Editorial photography has to be energetic and visually competitive.
I’m a novelist. I’m not a crusader, and I’m not an editorial writer. And I’m not writing fiction to convince anybody of anything.
I don’t think I’m an angry person. I think I’m a person who’s angry. I’m angry at the Bush administration; I’m angry at the right wing media. And by that I don’t mean the media is right wing. I mean, there is a part of the media that’s not the mainstream media. That’s Fox, that is ‘The Wall Street Journal’ editorial page.
What a newspaper needs in its news, in its headlines, and on its editorial page is terseness, humor, descriptive power, satire, originality, good literary style, clever condensation, and accuracy, accuracy, accuracy!
I’m a better editorial cartoonist by default because so many editorial cartoonists out there are so awful.
The difference between Koppell and Olberman types is that one gives editorializing in all its editorial frankness so there are no mistakes as to bias, and the other passes off a subtler bias as objectivity.
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.
I have no idea what readership is of written editorials, but it doesn’t come anywhere close to the readership of editorial cartoons.
I admired Eugene McCarthy’s courage and although I left his Senate staff after four years to accept a job as the researcher on the editorial page of the ‘Washington Post,’ I remained an admirer.
All I can do is advocate changes at the BBC while respecting editorial independence upon which the success of the BBC rests. I can’t do anything that requires the BBC to pay certain people certain amounts.
I’m never surprised by the insensitivity of ‘The New York Times’ editorial board.
When I first started as an editorial cartoonist, I was terrified on a daily basis. Filling that hole the next day, knowing that tens of thousands of people were going to expect something funny. There is still that pressure, but you kind of learn how to cope with it a little better.
Editorial pages all say, ‘Well, the other guy has a point, too. It remains to be seen how this will come out. We certainly hope it comes out fine; blah, blah.’ Cartoonists don’t go that way. Our job is to stick out our tongues, to show a big raspberry to whatever pompous jerk happens to be mouthing off.
I don’t give you editorial control. I want to meet you. I want to interview everybody who’s ever known you. I want to see your correspondence. I want to see your bank statements. But you will have no control over what I write. That’s why I really believe in the unauthorized biography.
We served on the editorial board of a literary monthly called Face in 1968 and 1969. He was a young writer, and I was also interested in broad cultural issues. We agreed on all major issues and became friends.
Certainly as an actor, half of your work is not going to end up on the screen anyway, because in the editorial process, they need to cut to the other actor in the scene. Very often, your best work ends up on the cutting room floor, because it just doesn’t work with the overall narrative drive of the story.
People really love editorial cartoons, and I think publishers understand that.
At the end of the day, my focus will be to make the ‘Evening News’ as strong from an editorial perspective as it possibly can be.
