I treat my writing like a day job, like my main job, even if for many years I was doing other jobs to pay the bills. I worked as a copy editor. I was a medical guinea pig. I was an eBay power seller of ladies' handbags. I was an assistant to a bookie at the horse races. I bartended. I did anything I could to make ends meet.

In my role as Wikileaks editor, I've been involved in fighting off many legal attacks. To do that, and keep our sources safe, we have had to spread assets, encrypt everything, and move telecommunications and people around the world to activate protective laws in different national jurisdictions.

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.

The average citizen in this county has more intelligence and sense in his little finger than the editor of 'The New York Times' has in his whole head.

I was an English major at the University of Minnesota, and I was very shy, which many people misinterpreted as intelligence. On the basis of that wrong impression, I became the editor of the campus literary magazine.

The 'Guardian''s unique ownership structure safeguards our editorial independence from commercial or political interference and means we can reinvest any money we receive into this journalism that matters so much.

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.

Suddenly the whole imagination of writing and editorial and newspaper and all these presumptions about who am I reading this, and who else other people may be, and all that, it's so grimly brutal!

In the beginning, we had a great deal of freedom, and Jerry wrote completely out of his imagination - very, very freely. We even had no editorial supervision to speak of, because they were in such a rush to get the thing in before deadline. But later on we were restricted.

One question about a joke is, how well is the strangeness of the situation resolved? At 'The New Yorker', we retain a lot of incongruity, tapping the playful part of the mind - Monty Python-type stuff. We also try to use humor as a vehicle for communicating ideas. Not editorial comment, but observation.

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!

Try pitching a story of happiness to your editors, and their toes are going to curl up.

The essays in The Great Taos Bank Robbery were my project to win a Master of Arts degree in English when I quit being a newspaper editor and went back to college.

There is a growing literature about the multitude of journalism's problems, but most of it is concerned with the editorial side of the business, possibly because most people competent to write about journalism are not comfortable writing about finance.

I was getting a lot of editorial, as in lots of pages in 'Vogue,' but it's far more important to get your dresses on the back of a famous person. Charlotte Rampling in Bruce Oldfield. That sells.

There is always a certain leap of faith that editors have made with their nonfiction writers. If the trust is broken, things can get very embarrassing for the writers and the publisher.

After more than a decade as the editor of 'Wired' magazine, Chris Anderson started the company of his dreams - a robotics manufacturing company called 3D Robotics - to produce the autonomous flying vehicles coming out of DIY Drones.

NPR editors and journalists found themselves caught in a game of trying to please a leadership team who did not want to hear stories on the air about conservatives, the poor, or anyone who didn't fit their profitable design of NPR as the official voice of college-educated, white, liberal-leaning, upper-income America.

Usually I design the lighting and when I have the physical set there, I'm not good at going out loosely and saying, 'Do you what you want, give it to the editor, and he'll figure it out.' I physically then walk on with the actors and I say, 'Let's walk until you guys feel the space works for you, and tell me when all that happens.'

I got that experience through dating dozens of men for six years after college, getting an entry level magazine job at 21, working in the fiction department at Good Housekeeping and then working as a fashion editor there as well as writing many articles for the magazine.

When finally I mustered the courage to tell a novelist friend that I was talking to editors about a biography, her reply was, 'Oh, that's okay. That's not a real book.'

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.

Some people call it the 'Al Jazeera spirit' - courage, re-thinking authority, giving a voice to the voiceless. We have never been favored by the authority. The human being is the center of our editorial policy. We are not a TV station that rushes after stars, big names, press conferences, hand-shake journalism.

Editor: a person employed by a newspaper, whose business it is to separate the wheat from the chaff, and to see that the chaff is printed.