Anyway, in case anyone is thinking of applying for this position, let me just offer some advice:

Companies are never as loyal to you as they expect you to be to them. Before uprooting your present situation, think long and hard about the expense of living in the New York area…about your prospects for holding on to the job for enough years to make a move worthwhile…and, of course, the cost to your immortal soul when DC requires you to do repugnant things with their classic characters.

I read it and said to myself, “Jeez – that has GOT to be a horrible place to work right now. ”

Then I said, “Jeez – I bet I can clean that place up a bit.”

So I started signing up for an account.

And then I, thankfully, stopped myself because I realized the only reason why I’d apply is because it represents some monumental challenge. Plus, I’m already making good books.

I probably said “Jeez” again, too.

Your attitude towards it is admirable, though, and surely something they’d be looking to hear from potential candidates.

As far as the job being miserable, that’s just one opinion. In order to handle any deadline-driven editorial position, one has to have the right attitude, aptitude and personality. Such a job is NOT for those who wilt under pressure, but if one can handle it, there are few better feelings in life than holding a finished product in hand and saying, “I made this!”

“s dot s”: Berganza and Breevort aside, I don’t think editors get criticized nearly as much as the creators, and I’m not sure how I feel about that, honestly. I suspect it depends on the profile of the creator, as Bendis, Johns and Millar certainly have more leeway and pull than, say, Andreyko or Beatty. But yeah, thick-skin is an absolute must in comics.

That and anything you do will be criticized in blogs and forums. Not that I don’t have thick skin but that sh*t is not a perk.

Wonder if it’s a new position or just filling an empty one, though, and what the minimum 5 titles are?