"There are many more want-to-be writers out there than good editors"
About this Quote
Aspiring writers are everywhere; the rarer species is the person willing to cut the sentence they love to save the story. Stephen Ambrose, a popular historian who lived in the churn of publishing deadlines and public scrutiny, lands a quiet provocation: the literary ecosystem is lopsided, and not in the way the romantic myth prefers. Everyone wants authorship because authorship comes with identity, visibility, the byline-as-brand. Editing comes with responsibility, anonymity, and the unpleasant job of telling someone their “voice” is currently noise.
The intent isn’t to dunk on amateurs so much as to defend a craft that gets treated like administrative overhead. Ambrose is pointing at a structural shortage: good editors require technical skill (structure, argument, pacing, fact discipline), emotional intelligence (how to challenge without crushing), and authority that isn’t performative. That combination is hard to train and harder to reward. The subtext is also self-serving in an honest way: historians like Ambrose rely on editors to translate piles of research into narrative momentum. Without that shaping hand, the public-facing historian risks becoming a footnote factory.
Context matters here because Ambrose’s career sat at the crossroads of mass-market history and controversies over sourcing. In that world, editing isn’t just style; it’s ethics. A “good editor” safeguards clarity and credibility, pushing against the temptations of haste, hero worship, and tidy storytelling. The line works because it punctures a cultural hierarchy: we fetishize the creator, then wonder why so much creation arrives undercooked.
The intent isn’t to dunk on amateurs so much as to defend a craft that gets treated like administrative overhead. Ambrose is pointing at a structural shortage: good editors require technical skill (structure, argument, pacing, fact discipline), emotional intelligence (how to challenge without crushing), and authority that isn’t performative. That combination is hard to train and harder to reward. The subtext is also self-serving in an honest way: historians like Ambrose rely on editors to translate piles of research into narrative momentum. Without that shaping hand, the public-facing historian risks becoming a footnote factory.
Context matters here because Ambrose’s career sat at the crossroads of mass-market history and controversies over sourcing. In that world, editing isn’t just style; it’s ethics. A “good editor” safeguards clarity and credibility, pushing against the temptations of haste, hero worship, and tidy storytelling. The line works because it punctures a cultural hierarchy: we fetishize the creator, then wonder why so much creation arrives undercooked.
Quote Details
| Topic | Writing |
|---|---|
| Source | Help us find the source |
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