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While we can all access articles and information in so many places now - across blogs, in newspapers, on video - there is something very powerful about putting it all together into an edited format in a single issue that has a narrative stretching across the themes.
Michael Wolf
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What could I have possibly learned except the really most important thing, which is that I did not want to work at the 'New York Times'? Beyond that, I learned how a newspaper works.
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I was working at the 'New York Times,' ruing every second of my life, thinking how was I ever going to get out of here, and thinking that one could only do it the way newspaper people have always done it. I needed a scoop, and I would go out and I would dream upon coming upon fires or the sky falling in front of me or anything.
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I produced some very good work at 'New York' magazine.
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One of the things about having worked at certain places is that it becomes very hard after you stop working at them to continue a relationship, to continue even reading them. So I must confess that I don't read 'New York' magazine anymore.
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Everybody is promoting something.
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Everybody is someone else's instrument.
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If you tweet for me, I'll tweet for you.
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One thing I can say right off the bat is that creating great editorial is a huge challenge, and you can't help but go through the process and not appreciate how valuable this skill is, and how much I admire the people who do this every day.
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I think one of the best jobs in the universe must be being the editor of 'The New Yorker', but there are a number of magazines that I'd be excited to be the editor of. They would be 'Wired', 'The New Yorker' and probably, 'Vogue'.
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I think there is a real value in an editorial point-of-view and in editorial curation, and in putting together an entire narrative around a set of topics is important.
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