“So like, you just fix all the typos and then you get to have your name on the cover?”
I am not an extremely picky editor. I don't immediately discount a submission based on a missing apostrophe or a misplaced comma. That's what editing is for--on my part. And posts with errors do end up on EC, including ones I've written, which is why I am not harsh on others in this regard. To write is to err.
John Campbell and many other editors have shown that editors too, can be agents of change in science fiction and society. In my role as volume editor and Far Orbit anthologist, I was uniquely positioned to set the tone for the anthology. Rather than writing about my preferences for more optimism, I decided to pay people for their optimistic SF stories.
Writers are the gods of their own stories. We wield the power to say what we want, how we want. An editor or critic can recommend changes, but writers possess the awesomely seductive power to ignore them. This is one of the greatest dangers of being a writer: the ability to reject good advice. At the time, it’s tempting to think the critic just didn’t read something the right way, or to defend that clever turn of phrase we’re so proud of. Sometimes, we even fall back on the crutch of “this is my style” rather than honestly engage what an editor/critic is trying to tell us.
Since an anthology is a collection of short stories by various authors, it is usually centered around a theme. That theme may be broad—the theme of Speculative Story Bites is "speculative fiction under 4000 words"—or it may be narrow--for example, Rhonda Parrish's anthology Corvidae is focused on fantasy stories about crows, magpies, and other "corvid" birds, and Kate Wolford's anthology Frozen Fairy Tales is all about fairy tale retellings set in winter. At this point, the editor and publisher must also decide on guidelines for writers, including how long or short a story can be, what genres are acceptable, and how much writers will be paid.