Magazine Publishing Quotes

POETRY, n. A form of expression peculiar to the Land beyond the Magazines.

I can't stand the short story form, which, after all, is a magazine form.

With the greatest of respect, I have watched Apple from the day it started. I was publishing magazines about the Apple II before most people had ever heard what a personal computer was.

When I came to 'Gourmet,' I had no clue how to run a magazine; for television, I am fascinated to learn about editing.

People ask me 'Why you want to do another magazine - 10 years at 'Vogue,' a great magazine? Why do you want to make a new one? It's so difficult and there's already so many.' I wanted to do something new, bring a new vision.

I ended up buying business.com for $150,000 because I wanted to make it a magazine. It would have been a 'Time'-type magazine: how to do business on the Internet. And I was offered a lot of money for that domain. I played two buyers against each other.

My father was a newspaper editor, so I was surrounded by journalists my entire life. I think the fact that he was so well known may be why I chose to go into magazines and move to the States at a young age.

By the time I came to the States, I really understood how a magazine works. I came to 'Vogue' as creative director, and three years later I went back to London to be editor in chief of British 'Vogue.'

If I have a spare second, I usually catch up on the many magazines I'm behind on or watch the latest movies on demand that I usually missed at the theater. I love magazines. My top three: Graydon Carter's 'Vanity Fair', Adam Moss' 'New York magazine' and David Remnick's 'New Yorker.'

My father was the editor of an agricultural magazine called 'The Southern Planter.' He didn't think of himself as a writer. He was a scientist, an agronomist, but I thought of him as a writer because I'd seen him working at his desk. I just assumed that I was going to do that, that I was going to be a writer.

My aspiration was always to be a fashion editor.

'The Dublin Magazine' has been edited with good taste, and it is very agreeable reading, but to speak quite candidly, I do not believe in the future of any literary journal any more than I believe in the future of the Trinity.

These 'Sports Illustrated' people, they know how to hold a secret.

The art editor in charge of the covers at the 'New Yorker' is Francoise Mouly. She's very familiar with the eccentricities and personalities of cartoonists, so working with her is very easy.

When I started publishing, I got offers to write for big magazines. But I would always say, "Well, it's not that I don't want to write for these big magazines, but you can't edit it."

I worked both as a Russian journalist and an American journalist and ran a bunch of magazines in Moscow over the course of about 20 years.

When I took over 'The New Yorker,' there was a very, very good, smart staff in place.

When I was 15, I left school to start a magazine, and it became a success because I wouldn't take no for an answer. I remember banging on James Baldwin's door to ask for an interview when he came to England. Then I got Jean-Paul Sartre's home phone number and asked him to contribute. If I'd been 30, he might have said no, but I was a 15-year-old with passion and he was charmed. Making money was always just a side product of having a good time and creating things nobody'd seen before.

As an undergrad, I was the editor of the Yale humor magazine, and since then, I've published humor in the 'New York Times' and 'Atlantic,' among other places.

I just fell into the job as a fashion editor at a teen magazine. I was there for two years, and I left there as a senior fashion editor at the age of 25.

I actually don't know how magazines are produced, I'll be honest with you. I have no idea.

My career got off to a very shaky start when I dropped out of school at the age of 18. Despite my lack of academic credentials, I got a job as a fashion assistant at 'Harper's & Queen.'

John Parsons, the gay art director at 'Vogue,' really started my career.

Publishing magazines for yourself is not good business, man.

I'd known the people at Rolling Stone for a while. I'd gone to them with a piece I'd done on Beirut for Vanity Fair that Vanity Fair didn't want to publish, because they said I was making fun of death... This was Tina Brown.But they paid me for it. So I've got this big chunk of a piece, and Rolling Stone liked it, but they thought it was a little dated. But then they called me back and asked me to do a similar piece about the Turks and Caicos Islands, where the whole government had been arrested for dope smuggling. That was fun.