The Best Book About a Magazine Editor

In the narrowest sense, editors lay twitchy hands on someone else’s work, fixing it, patching it, polishing it, and generally trying to keep it upright. In the broadest sense, however, they set the agenda, standards, and tone for a publication. They hire and fire; they pick stories, and the writers to go with them. They must have enough ego to confidently steer talented people, but the will to subordinate it. They must assuage prima donnas, compel laggards, and sober up drunks.

Equal parts shaman and showman, they must have an unwavering vision for their publication, convey it to a staff, and then sell it to the great yawning public. For these reasons and many others, editing a magazine is not a job suited to the faint or uncertain, and it is enormously difficult to do well.

Ross believed that talent attracts talent. You get talent if you publish a good magazine, you get tripe if you publish tripe. . . . And talent, the editor understood, was the key. He never stopped searching for it or, once he had found it, nurturing it. Ross had a respect for creative people that bordered on veneration; everyone else, himself included, was meant to be in their service.

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