I think that they had afforded me many opportunities to do good work there, and I think I did. It was a wonderful four years. I really worked with some great people, terrific producers, terrific editors.

I think that they had afforded me many opportunities to do good work there, and I think I did. It was a wonderful four years. I really worked with some great people, terrific producers, terrific editors.

As the youngest, I wanted to be my father's son and perpetuate the family name.

I was just going at this career - boom, boom, boom! Then all of a sudden, at 38, Oh, my God - I forgot to get married!

I once bought an old car back after I sold it because I missed it so much and I had forgotten that it never ran. It was a British racing car. You know, because I just wanted it back. I could only remember what was good about it.

Our son is in school now. You know, he's six-and-a-half and so a big chunk of the day is taken up by school. So I'm hoping that I'll be able to certainly take him to school in the morning, maybe pick him up in the afternoon and come back to work.

Today, especially, when there are so many stations for viewers to choose from, if they want news, they always come to CNN and that's where I wanted to be.

I think, you know, it was something that I really wanted. I wanted so much to have a son or daughter. We adopted a son. And it was just the most wonderful thing. I think the only thing that was difficult for both Maury and myself were the sleepless nights.

For instance, he says I let him play golf, and he says, he lets me be miserable in my job. Now - that doesn't quite sound right, does it? But nonetheless, I think for the first time in my life, I'm not going to be miserable in my life when I come and work at CNN.

But, you know, sometimes - many - they all understand. That's the nice thing. They were all very happy for me and they understand why I decided to come to CNN. So in that respect, I know that they think it's the best thing for me to do.

I don't know when network executives will get out of the Dark Ages.

I think men are allowed to be fat and bald and ugly and women aren't. And it's just not - there is no equality there.

I now need to take a very aggressive approach to having a baby.

I mean, all the ratings wars are silly. But, I mean, someone has to be concerned about the ratings because it means, you know, it translates into revenue.

Just about any story we think about doing, whether we've read it in a newspaper, heard it on the radio or come upon it through word of mouth - by the time you get there, every other network, cable station and talk show is already racing to the scene.

Well, honestly, both my husband and I tend to ignore the tabloids. We see them every once in awhile or it comes to our attention that we are in a tabloid for one reason or another. But it's always false.

We're going to develop - what we want to do is to provide the viewers with what they want from CNN and that is the news. So when people tune in, they'll get the latest news, but they'll also get the biggest story of the day in depth, as CNN does so well.

You know, there are not only - all of the networks, and I mean every television news operation and print and radio and magazines, newspapers, all of them, are remiss in the diversity area. I mean, none of these organizations have reached a level of parity.

Honestly, I expected to get a cold reception because of my subject matter. But when editors took a look at the story I had to tell, and saw that this was not a parochial story at all, they really warmed to it.

I think that they had afforded me many opportunities to do good work there, and I think I did. It was a wonderful four years. I really worked with some great people, terrific producers, terrific editors.

So I went out and bought myself a copy of the Writer and Artist Yearbook, bought lots of magazines and got on the phone and talked to editors about ideas for stories. Pretty soon I found myself hired to do interviews and articles and went off and did them.

If it were not for the fact that editors have become so timorous in these politically correct times, I would probably have a greater readership than I have.

Some editors are failed writers, but so are most writers.

I try to help people become the best possible editors of their own work, to help them become conscious of the things they do well, of the things they need to look at again, of the wells of material they have not even begun to dip their buckets into.

There are plenty of bad editors who try to impose their own vision on a book.

Writers would submit scripts to me, and if I liked one well enough to submit to magazine editors, I had the know-how whether the story was good or bad.

I wrote poems in my corner of the Brooks Street station. I sent them to two editors who rejected them right off. I read those letters of rejection years later and I agreed with those editors.

If there had been three public editors before me, the body might have absorbed it a little bit better.

The Bush administration works closely with a network of rapid response digital brownshirts who work to pressure reporters and their editors for 'undermining support for our troops.'

Editors of open anthologies actively seek submissions from all comers, established and unknown. They are willing to read whatever the tide washes up at their feet.

The first version of The Beautiful Room Is Empty was the first mss. I'd ever submitted to New York editors.

And I remember that the editors wanted to have a witness to say that this was really the case, because it was a very sharp picture of the just the face, the head of the fetus inside the womb.

The real literary editors have mostly been fired. Those that remain are all "bottom line" editors; everything depends on the money.

You're at the mercy of the editors' hands.

Not that I've always loved the movie when they finally come out, or if they ever come out-because many of them don't come out-but I've gotten to work with really good story editors and stuff like that.

There are many more want-to-be writers out there than good editors.

I've had editors over the years who couldn't find a clue if it was stapled to their butt.

Successful model? That's a myth. The year I modeled was the most painful year of my life. Editors would always talk to you in the third person as though you were merely a piece of merchandise.

One should fight like the devil the temptation to think well of editors. They are all, without exception - at least some of the time, incompetent or crazy.

There are two kinds of editors, those who correct your copy and those who say it's wonderful.

William Packard surely must be one of the great editors of our time.

I had a hard time publishing my books in the beginning of my career, because editors were afraid what people would think of THEM, personally, if their name was associated with me.

Only kings, presidents, editors, and people with tapeworms have the right to use the editorial "we."

Sure, some journalists use anonymous sources just because they're lazy and I think editors ought to insist on more precise identification even if they remain anonymous.

Look, obviously that was - created quite a firestorm, but Newsweek editors have made clear that this was a situation where, you know, a solid, well-placed source provided some information.

I trust it will not be giving away professional secrets to say that many readers would be surprised, perhaps shocked, at the questions which some newspaper editors will put to a defenseless woman under the guise of flattery.

The nature of journalism has been the enemy of idealism and the source of cynicism among American reporters and editors throughout our history.

I formed a resolution to never write a word I did not want to write; to think only of my own tastes and ideals, without a thought of those of editors or publishers.

I don't know how the editors are going to take it or how it may be received. But to some extent I'm hoping that with the next book, when people pick it up and read it, it will scare the pants off of them.