Search Results for: Time Magazine

Making More Magazines: A Reading List

Photo: Sharon Terry

Last year, Longreads published a list with behind-the-scenes stories about magazines. Last week, Anne Helen Petersen published an article about the state of Tiger Beat for BuzzFeed News. Inspired, I decided to create an addendum to Making the Magazine. This reading list includes bigger names, like an archived examination of Ms. and Petersen’s update regarding Tiger Beat; a feminist-food magazine; a defunct magazine for sex workers and their supporters; and a lesbian/queer magazine for denizens of D.C. and beyond. Read more…

‘Dr. V’ Writer Caleb Hannan Speaks for the First Time About What Went Wrong

“It didn’t need to exist. And that was not something that occurred to me in the process of reporting.”

Out of everyone who read an early draft of “Dr. V’s Magical Putter,” only Caleb Hannan’s wife asked him the most critical question of all: Did this story even need to exist?

Hannan spoke publicly for the first time on Saturday at the Mayborn narrative journalism conference in Texas, in a panel called “Anatomy of an Error,” to dissect what went wrong with his 2014 story for Grantland, which ended with the suicide of a transgender woman. The story led to massive public criticism—as well as an internal investigation at ESPN and a letter of contrition from editor Bill Simmons—about how Hannan and his editors handled the story, and whether the reporting pushed a woman to take her own life. Hannan was joined on the panel by writers Hanna Rosin and Michael J. Mooney, and Boston Magazine editor (and one of Hannan’s early critics) S.I. Rosenbaum.

Speaking in a room filled with hundreds of journalists, Hannan was both extremely self-critical and at times emotional as he went through the chronology of reporting and editing for the piece.

Late in the process of vetting the story, Hannan said he was contacted by one of Grantland’s freelance fact-checkers, who raised concerns about the story—the first time anyone other than his wife had voiced those concerns. “Some of the first words out of her mouth were, ‘There’s a chance this woman is going to hurt herself,’ and I said, ‘I know and I’m scared shitless, and I don’t know what to do,’ and she said, ‘Okay I just want to make sure I said that.’ And that’s a conversation I immediately should have taken to my editor, but I didn’t.”

Why not, he was asked.

“I don’t know.”

Hannan reflected on the ideas that journalists should hold people accountable or seek out the truth at all cost. But it’s not that simple. “At every point in the reporting I could justify myself going forward … ‘I’m doing my job.’ But part of the job was to assess whether it was worth it. And there were two people who saw that. In talking with my wife, in talking with this fact-checker, I said, ‘What happened?’ And they said, ‘You were in denial.’

“There’s this idea that it’s not going to happen to me. There is a momentum to a story that’s hard to stop. … It would have been a blow to my ego to set aside something I knew was going to be talked about. But I should have.”

The Rise of Independent Travel Magazines

Subject matter can be almost self-consciously esoteric. The latest issue of Ernest includes a piece by Queen guitarist Brian May on diableries (19th-century stereoscopic photographs of clay model demons). Cereal has 10 pages on Anglepoise lamps; Avaunt has a feature headlined “Politics of map projections”.

The new magazines also move away from the traditional “colonial” model of travel journalism, where a writer is sent overseas to experience a trip as a holiday-maker would, then report back. Instead, many of the new titles commission pieces from writers with existing connections to a destination (a model that happily saves on travel costs, too). Boat magazine, an early independent which first published in 2010, produces an entire issue focused on a single destination, and moves its editorial team there for several weeks to seek out stories. Many of the new editors are scathing about conventional titles’ focus on hotels and restaurants, and their extensive use of lists. The independents see themselves as being about places, rather than holidays.

Tom Robbins writing in the Financial Times (registration required) about the new breed of print travel magazines that have emerged as commercial travel magazines suffer diminishing circulation.

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Canada’s National Magazine Award Winners: A Reading List

Canada's Magazine of the Year Gold winner, Nouveau Projet

Below is a guest reading list by Eva Holland, a writer and editor based in Canada’s Yukon Territory, whose work we’ve featured on Longreads many times in the past.

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Canada’s magazine industry recently threw its biggest party of the year: the National Magazine Awards. The Canadian event differs from the American Ellies, with more categories and more nominees per category: this year’s awards were up for grabs among 326 nominees from 80 publications, spread across 43 categories. “Gold” and “silver” winners get awards, and the balance of the nominees receive honorable mentions. That spawns the occasional joke about how in Canadian magazines, everyone gets a medal for participation, but—go ahead, call me biased (I was a nominee/honorable mention in the “society” category, for “The Forgotten Internment”)—I like the way our format lets us celebrate many different sorts of work, not just the “biggest,” most ambitious features.

Here are a few of my favorites from among this year’s winners: Read more…

How Does a Magazine Go About Calculating the Financial Cost of Gun Violence?

To begin to get a grasp on the economic toll, Mother Jones turned to Ted Miller at the Pacific Institute for Research and Evaluation, an independent nonprofit that studies public health, education, and safety issues. Miller has been one of the few researchers to delve deeply into guns, going back to the late 1980s when he began analyzing societal costs from violence, injury, and substance abuse, as well as the savings from prevention. Most of his 30-plus years of research has been funded by government grants and contracts; his work on guns in recent years has either been tucked into broader projects or done on the side. “I never take positions on legislation,” he notes. “Instead, I provide numbers to inform decision making.”

Miller’s approach looks at two categories of costs. The first is direct: Every time a bullet hits somebody, expenses can include emergency services, police investigations, and long-term medical and mental-health care, as well as court and prison costs. About 87 percent of these costs fall on taxpayers. The second category consists of indirect costs: Factors here include lost income, losses to employers, and impact on quality of life, which Miller bases on amounts that juries award for pain and suffering to victims of wrongful injury and death.

Mark Follman, James West, Julia Lurie, and Jaeah Lee writing in Mother Jones about the magazine’s six-month-long investigation into the financial costs of gun violence in America.

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The Fabulous (and Sometimes Dead-End) Opportunity of Being an Assistant

Photo by Peas

Nearly every exclusive field runs on assistants. The actor James Franco, like Buddha before him, had an assistant keep track of his meals and school assignments. The critic and writer Daphne Merkin has employed a steady stream of Ivy-educated elves. They’re tasked with everything from editing to returning dead houseplants. Bestselling novelist John Irving (The Cider House Rules, A Prayer for Owen Meany) has an assistant who types up his roughly twenty-five pages of handwritten manuscript a day. He recruits exclusively from liberal arts schools in cold climates like Middlebury and Vassar, to ensure his hires can survive the winter at his home in Dorset, Vermont. During the 2008 presidential season, recent Harvard grad Eric Lesser impressed senior advisor to the president, David Axelrod, with his color-coded system for tracking Obama’s campaign luggage. Lesser was taken on as Axelrod’s “special assistant,” assuming responsibility for everything from supervising his boss’s diet to organizing the first-ever presidential Seder.

—At Dissent, Francesca Mari examines the rise of the personal assistant. Creatives take assistant positions to network with professionals in their fields and to go behind-the-scenes in their craft. But it can’t last forever: Whereas internships might one day result in full-time employment, the role of the assistant stagnates in the end: “The worst thing to be called,” [Darren] Aronofsky’s assistant told me, long after he’d moved on, “is a really good assistant.”  (h/t Michelle Legro)

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The Time Everyone “Corrected” the World’s Smartest Woman

Longreads Pick

Marilyn vos Savant, a former child prodigy and the “world’s smartest woman,” according to the Guinness Book of World Records, had carved out a niche for herself as an advice columnist for Parade magazine. It was in the body of one of these columns that she politely answered a reader’s inquiry on a probability puzzle, and then all hell broke loose.

Source: Priceonomics
Published: Feb 19, 2015
Length: 9 minutes (2,278 words)

The 2015 National Magazine Award Winners: A Reading List

This year’s National Magazine Awards were handed out Monday night in New York, with General Excellence honors going to publications including The New Yorker, Glamour, Garden & Gun, Nautilus and The Hollywood Reporter. Vogue won the award for “Magazine of the Year.”

Here’s a brief rundown of some of the winning stories from the night:

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Multimedia: “Beyond the Border” (Texas Observer)

Texas has become the deadliest state in the US for undocumented immigrants. In 2012, 271 migrants died while crossing through Texas, surpassing Arizona as the nation’s most dangerous entry point. The majority of those deaths didn’t occur at the Texas-Mexico border but in rural Brooks County, 70 miles north of the Rio Grande, where the US Border Patrol has a checkpoint. To circumvent the checkpoint, migrants must leave the highway and hike through the rugged ranchlands. Hundreds die each year on the trek, most from heat stroke. This four-part series looks at the lives impacted by the humanitarian crisis.

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What It Was Like to Cover Mario Cuomo as a Reporter for the New York Times

Four years of covering Cuomo as a reporter have put me at his side day after day, week after week, from the Soviet Union to Canada, from San Francisco to the Upper West Side of Manhattan. We’ve drunk vodka together at backyard cookouts and in a Leningrad hotel. (Often after a few vodkas, and in other times of reflection, he dwells not on moments of glory but on those of defeat, especially the bitter 1977 New York City mayoral race he lost to Edward I. Koch.) He has fallen asleep next to me on the red-eye flight out of Los Angeles. (He snores.) He has threatened to ruin me for articles he perceived as negative. (”I could end your career. Your publisher doesn’t even know who you are.”) He has offered to have the state police bring me chicken soup when I was home with the flu.

The four years are a roller-coaster ride of images:

Cuomo pacing in his office: ”Lincoln. Lincoln had bad press, too. He wasn’t appreciated until after he was gone.”

Cuomo backstage in seclusion after one of his major speeches, bent over, breathless and spent, like an athlete who has just finished a race.

Cuomo, the lawyer and student of the Vincentians, playing his favorite role, part Socrates and part Clarence S. Darrow, grilling a 10-year-old boy in the halls of the State Capitol: ”And how do you know you’re 10 years old? Your daddy says so? How do you know your daddy’s right?”

Cuomo, at the age of 55, still wearing on his right hand his St. John’s University ring, so deep is his gratitude to the college that transformed a son of poor Italian immigrants into a member of the professional class.

Cuomo, the Roman Catholic and the quick wit, remaining calm as some around him panicked when one of the two engines on his state plane failed: ”What’s the matter? Aren’t you in a state of grace?”

Cuomo making his own coffee in the kitchen of the Executive Mansion on a Saturday morning, then walking through the residence pointing out the nicks in the woodwork left by Franklin D. Roosevelt’s wheelchair.

Jeffrey Schmalz, writing in the New York Times Magazine, May 15 1988.

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Interview: Vela Magazine Founder Sarah Menkedick on Women Writers and Sustainable Publishing

Cheri Lucas Rowlands | Longreads | Oct. 2 2014 | 10 minutes (2,399 words)

 

Three years ago, Sarah Menkedick launched Vela Magazine in response to the byline gender gap in the publishing industry, and to create a space that highlights excellent nonfiction written by women. Last week, Menkedick and her team of editors launched a Kickstarter campaign to grow Vela as a sustainable publication for high-quality, long-form nonfiction, to pay their contributors a competitive rate, and to continue to ensure that women writers are as recognized and read as their male counterparts. Menkedick chatted with Longreads about her own path as a writer, the writer’s decision to work for free, building a sustainable online publication, and the importance of featuring diverse voices in women’s nonfiction.

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Let’s talk about Vela’s origins. You created Vela in 2011 as a space for women writers in response to the byline gender gap — yet it’s not a “women’s magazine.” Can you explain?

Like so many women writers, I was discouraged by the original VIDA count in 2011. I was also a bit disenchanted with a certain narrowness of voice and focus in mainstream magazine publishing, which tended to be very male, because men tend to dominate mainstream magazine publishing. Talking about the alternative to that gets really dicey, because it’s icky to talk about a “womanly” or “female” voice. I wanted to say: nonfiction and literary journalism written by women doesn’t have to sound like this sort of swaggering male writing, or like the loveable snarky-but-sweet meta writing of John Jeremiah Sullivan or David Foster Wallace. It can be like . . . and there we run short on models, because there aren’t very many women being widely published whose work falls into that middle zone between “creative nonfiction” — which tends to be more academic, more experimental, more the types of essays appearing in literary magazines — and traditional journalism.

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