Exploring the art and craft of story
August 16, 2018
August 15, 2018
August 13, 2018
Dan Barry and a team of New York Times reporters channel the voices of children held in migrant detention camps
A former farmer turns to writing to uncover the global crisis of farmer suicides – and plants the seeds of a response
The editor's advice: Study what's been published before. Be authoritative, fresh and "arresting." Dare to send a (good) cold pitch
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