The Atlantic recently announced the re-launch and expansion of its’ former AtlanticCities.com site as CityLab.com, a re-envisioned destination with an eye toward mobile users first, as well as a responsive design and expanded editorial intended to widen the audience for the site’s coverage of issues facing global cities. Read more
Posts Tagged ‘The Atlantic’
Don’t worry — longform storytelling isn’t going anywhere, thankfully, and The Atlantic writer and journalist Conor Friedersdorf has released his take on the best nonfiction journalism of 2013.
If you don’t follow Friedersdorf or receive his The Best of Journalism newsletter, you’re missing out, because he takes the time to scour the web for terrific journalism and serves it to you right on a silver platter (AKA your email inbox).
Anyway, the final list has a few more than 100 pieces of reported works. Here’s what I noted from taking a closer look at it:
1. Digitally native pubs have a nice showing.
Sites like The Awl, Aeon, Pacific Standard and Gawker that find their homes on the web are producing some really nice journalism. Even BuzzFeed made Friedersdorf’s list twice. Grantland, The Verge, Medium and Slate had a presence on the list, too — an encouraging fact for those of us committed to doing quality writing and reporting online. Friedersdorf also took a moment to applaud Glenn Greenwald and his team for their reporting on the NSA’s mass surveillance.
Atlantic Media recently announced four finalists competing for the 11th annual Michael Kelly Award, honoring the “fearless pursuit and expression of truth.”
The “future of journalism” topic has almost become trite in journalism circles, but for The Atlantic‘s President M. Scott Havens, thoughtful discussions and observations on the media landscape, both present and future, make the difference between being in the red and black.
At his SXSW talk, “Can Great Journalism Make for Great Business?” Havens, who will begin his post as Senior Vice President, Digital at Time Inc. March 31, explained how he helped propel a struggling then-Atlantic Monthly back to relevancy and progressiveness in the biz. A few of his “core beliefs” on producing and financially sustaining digital journalism are:
Magazines are here to stay
Sure, the definition of magazines is increasingly open for interpretation, but Havens says they’re not going anywhere. Readers are seeking stories with depth, analysis and craft, unlike so much of the content that permeates the web. “There’s something special about a well-researched magazine article,” he said. It’s fair to assume that print magazines won’t last (other than giants like TIME, Harper’s, The New Yorker, etc.) unless publishers can keep making profits from them. In The Atlantic’s experience, “Print advertising is actually sorta stable,” he said.
By now, you’ve probably read about the ‘odd couple‘ collaboration between The Atlantic and Deseret News. If not, I’ll sum up the buzz: a Mormon owned metro daily and the monthly magazine owned by a rich guy teamed up for a four part series on the changing role of fatherhood in the country. Or, the less interesting version: two print institutions (both share mid-19th century birthdays), revitalizing themselves and succeeding in the digital landscape teamed up to do good journalism.
Yawn, right? I chatted with Paul Edwards, editor of the Deseret News, and tried to get him to dish about the ‘nitty gritty’ of putting the series together and the perils of collaborating with a publication that was geographically and ideologically different from your own.
We all sat around a conference table at The Atlantic in D.C. for the better part of a day with whiteboards and sandwiches and talked about ‘what are the issues surrounding family stability’ and went from there to assign stories.
And get this — they used Word documents:
We each had different content management systems so we just decided at that level that is was easier to pass along Word documents and track changes…on our side, things got passed around quite a bit, for various reasons. Allison Pond edited the series, and I had a gentleman named Drew Clark work on it for a little bit. It was really between Eleanor Barkhorn, at the Atlantic and I, and that was the primary relationship back and forth. It largely stayed in house until we were essentially passing along pretty completed drafts.
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