Exploring the art and craft of story
February 23, 2018
February 22, 2018
February 21, 2018
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"
The writer talks about her hilariously awful trip with extreme birders for Audubon, and her bold choice of having a paragraph consisting of a single exclamation point
The writer talks about his Huffington Post Highline piece on ritualistic killings in Papua New Guinea -- and the differences between scapegoating in philosophy and in blood-curdling real life
The writer, who splits his time between tabloid reporting and deep dives, talks about how one prepares him for the other. (And kudos to Outside magazine, on a longform roll.)