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- KurzbeschreibungA celebration of the writing and editing life, as well as a look behind the scenes at some of the most influential magazines in America (and the writers who made them what they are).
You might not know Terry McDonell, but you certainly know his work. Among the magazines he has top-edited: Outside, Rolling Stone, Esquire, and Sports Illustrated. In this revealing memoir, McDonell talks about what really happens when editors and writers work with deadlines ticking (or drinks on the bar). His stories about the people and personalities he's known are both heartbreaking and bitingly funny-playing "acid golf" with Hunter S. Thompson, practicing brinksmanship with David Carr and Steve Jobs, working the European fashion scene with Liz Tilberis, pitching TV pilots with Richard Price.
Here, too, is an expert's practical advice on how to recruit-and keep-high-profile talent; what makes a compelling lede; how to grow online traffic that translates into dollars; and how, in whatever format, on whatever platform, a good editor really works, and what it takes to write well.
Taking us from the raucous days of New Journalism to today's digital landscape, McDonell argues that the need for clear storytelling from trustworthy news sources has never been stronger. Says Jeffrey Eugenides: "Every time I run into Terry, I think how great it would be to have dinner with him. Hear about the writers he's known and edited over the years, what the magazine business was like back then, how it's changed and where it's going, inside info about Edward Abbey, Jim Harrison, Annie Proulx, old New York, and the Swimsuit issue. That dinner is this book."
From the Hardcover edition.
- AutorTerry McDonell
- VerlagRandom House LCC US
- Seiten384 Seiten
- Gewicht358 g
- LeseprobeBesides the top job- editor in chief, it was usually called- there were five key masthead positions on every magazine: art director, managing editor, copy chief, research editor and photo editor. At every place I worked except Sports Illustrated , at least three (and often four) of those five jobs were done by women. At Rolling Stone , the three editors directly below me, the art director and the photo editor were all women-and they were not "the kind of girls who get high with their cats," as I once heard female staffers at RS described.
It might sound condescending, sexist even, to write that those women were all creative and tough and thoughtful beyond any cliché about making the trains run on time (although they did that too), but that's the way I remember them. "She's a great number two" was what you heard about strong women editors, which was usually true, but at the same time there was nothing more patronizing. Tellingly, applying the same praise to a man would have been devastating- which underlines a lack of fairness when it came to moving to the top of the masthead.
Magazine mastheads have always reflected the lack of equality in the separate-but-never-equalness of the men's and women's magazines themselves. You could define the difference by the amount of so-called service they ran. Women's magazines were full of advice and how-to pieces, many written by women who would have preferred covering politics to comparison-shopping for panty hose. Men's magazines were understood to be more serious and ran journalism and important fiction. Perhaps men didn't need any advice.
Until the 1960s, most of the women's magazines were even edited by men, most notably John Mack Carter, a diminutive Kentuckian and "bluegrass evangelist" for women's magazines, according to Advertising Age . John Mack, as he was known, arrived at work one morning in 1970 to find his office at the Ladies' Home Journal occupied by dozens of feminists demanding his resignation, as well as services like day care for staffers' children. Some were sitting on his desk smoking cigars. He wasn't about to give up his job, but he listened for eleven hours. "There was more discrimination than I thought," he said later.
John Mack also edited McCall's and, ultimately, Good Housekeeping -the other top women's titles in the "Big Three"-making him theoretically the most important shaper of women's magazines from the 1960s into the '90s, when he stepped down. They were "badly behind the times," he told the New York Times in an interview in 1963. "They were using baby talk to communicate with their readers
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