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The Ezra Klein Show

This Conversation Made Me a Sharper Editor

The Ezra Klein Show

New York Times Opinion

Society & Culture, Government, News

4.611K Ratings

🗓️ 23 April 2024

⏱️ 54 minutes

🧾️ Download transcript

Summary

In our recent series on artificial intelligence, I kept returning to a thought: This technology might be able to churn out content faster than we can, but we still need a human mind to sift through the dross and figure out what’s good. In other words, A.I. is going to turn more of us into editors. But editing is a peculiar skill. It’s hard to test for, or teach, or even describe. But it’s the crucial step in the creative process that takes work that’s decent and can turn it into something great. Adam Moss is widely known as one of the great magazine editors of his generation: He remade The New York Times Magazine in the late 1990s and early 2000s, and during his 15 years as editor in chief of New York magazine, shaped that outlet into one of the greatest print and digital publications we have. And he’s now out with a new book, “The Work of Art: How Something Comes From Nothing.” It’s a curation of 43 conversations with artists about the marginalia, doodles, drafts and revisions that lead to great art. It’s a celebration of the hard, human work that goes into the creative act. It’s a book, really, about editing. In this conversation, we discuss what musicians, writers, visual artists, sandcastle-builders and others have in common as they create; how editing is an underappreciated and often misunderstood step in the creative process; how creativity morphs in different stages of our lives; and trusting your own “sensibility.” Mentioned: “A Subtlety, or the Marvelous Sugar Baby” by Kara Walker “Miss Gleason” by Amy Sillman Ezra Klein Show episode with George Saunders “Mother and Child on Blue Mat” by Cheryl Pope Ezra Klein Show episode with Maryanne Wolf “Fidenza” by Tyler Hobbs “In a River” by Rostam Book Recommendations: Interviews with Francis Bacon by David Sylvester Faux Pas by Amy Sillman The Sketchbooks Revealed by Richard Diebenkorn Thoughts? Guest suggestions? Email us at ezrakleinshow@nytimes.com. You can find transcripts (posted midday) and more episodes of “The Ezra Klein Show” at nytimes.com/ezra-klein-podcast. Book recommendations from all our guests are listed at https://www.nytimes.com/article/ezra-klein-show-book-recs. This episode of “The Ezra Klein Show” was produced by Annie Galvin. Fact-checking by Michelle Harris. Our senior engineer is Jeff Geld, with additional mixing by Isaac Jones. Our senior editor is Claire Gordon. The show’s production team also includes Rollin Hu, Kristin Lin and Aman Sahota. Original music by Isaac Jones. Audience strategy by Kristina Samulewski and Shannon Busta. The executive producer of New York Times Opinion Audio is Annie-Rose Strasser. And special thanks to Sonia Herrero, Rachel Baker and James Burnett.

Transcript

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0:00.0

From New York Times opinion, this is the Ezra Klein Show. One thing we've been exploring more on the show this year is taste. I have this view that the

0:27.9

taste is becoming more and more important in this age of so much being algorithmic, so much being served up to you. AI moving to

0:36.2

this world, we're creating a derivative version of anything is that much easier.

0:40.0

Knowing what you like, what you think is good, what you think is bad, what you respond to,

0:44.8

that really matters.

0:46.0

That is a way to maintain both humanity and the capacity to do great things. But after taste there is this work of getting the thing to where you want it to be, right? If you know something is bad, you feel it's not there yet. How do you get it to where it needs to go?

1:05.8

The thing you are trying to do there is editing. I think we have an overly narrow description of what editing is. We think of it as marking up the grammar of a

1:10.9

sentence with a pen.

1:13.6

But great editors, and I've worked with a lot of great editors, they're mystics of a sort,

1:19.0

they're not technicians.

1:21.0

They see something that isn't there yet, whether of their own work or your work, and not really

1:27.6

knowing how to get there, they help you get there.

1:30.4

Not really knowing how to get there, they help themselves get there.

1:33.2

So this is the thing I've been wanting to explore because it's fuzzy.

1:36.7

We don't have very good even language for it.

1:38.9

But there are really great editors out there.

1:40.9

Adam Moss is one of them.

1:42.1

He's considered by many, considered by me, to be one of the truly

1:45.9

great magazine editors of his generation. In his 20s, this is back in 1988, he begins this

1:52.0

now very storied publication called Seven Days. It

1:55.2

survives only two years and wins a National Magazine Award for General Excellence.

1:58.6

He comes to the New York Times. He remakes the New York Times magazine, it becomes a key home for

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