In its loftiest form an editorship invites the journalist to perform a role of influence on the national stage, to engage in powerful and influential debate on matters of public interest, to challenge and shape governments (Ian McEwan's Amsterdam). Even at local level, the editor is well-placed, even obliged to become a pillar of the community.
Like Septimus Henry Kew, editor of the Crow (The Water Clock, Jim Kelly), and otherwise known as Woggle. Henry is tall and dessicated like a human praying mantis, with a small, stick insect body.
(His) thin frame, like a vision in a fairground mirror, enabled him to project his head around corners without revealing any other part of his body.
He has a tendency to 'extend his neck obscenely from his collar', allowing Philip Dryden to imagine his head turning through 360 degrees.
(Henry's) sex life appeared to be confined to the plain brown envelopes (which contain videotapes) and lifetime membership of the Boy Scout movement.
A poor manager, Henry lives above the Crow's High Street office, and occasionally appears in full scout unform, hence the nickname.
Henry was a stickler for the correct channels - one reason why was a lousy journalist.
The Crucible's editor (Exit, Bedford), Dougal Aitken-Aitken is of a different cut. No Scout uniform but his attire is just as telling - blue and white striped shirt with a white collar, pale green tie and red braces. He is the youngest editor in the group, his rise explained by the nickname Frugal Dougal.
The era of the high story count at the Crucible had dawned with daa appointment, an early memo setting out story quotas and word ceilings required by the redesign from broadsheet to tabloid. If it can't be told in ten pars, it ain't worth telling.