Exploring the art and craft of story
April 19, 2018
April 18, 2018
April 17, 2018
The magazine is known for its hard-hitting investigations, but Ian Gordon says, “We write so much about bad actors that we're always looking for people to bring some levity to leaven the mix"
Jennifer Sahn also mounts a defense of the overwhelmed editor, and why you might not hear back right away when you email
In his profile of a fashion creative who works exclusively with feathers, The New Yorker reporter shows off his own plumage in the beautiful writing
Editor Douglas McGray doles out a million great tips and insights, including the possibly scary, "We really put a lot of weight on the pitch."
The writer talks about her Coen Brothers-ish caper in Wired, the importance of voice, and her fondness for "poignant, hapless conmen who can't let go"
Reporter (and editor) Paul Tullis has been on both sides of the pitching process; here, he annotates his "Into the Wildfires" proposal
The historical novelist talks about his Boston Globe Magazine yarn and how he answered the question, "Who were America's first detectives?"
Jennie Rothenberg Gritz says of story pitches she accepts: "There has to be something surprising and narratively interesting there."
The reporter shares some of the decisions that went into making the chilling documentary that goes behind the scenes with white nationalist leaders
As we launch a series about the mystical art of pitching longform stories, the longtime freelancer does the coolest thing: He annotates one of his own
The New York Times foreign correspondent talks about her sensational last story from India, in which she uses first person to unparalleled effect
The Los Angeles Times writer, who watched a doctor operate on a teen gunshot victim, talks about his enduring passion for stories that depict “the split-second events that change the predictable course of life"