This is what I think is going to happen:

Magazine editors and designers are going to gather at a secret location somewhere in Minneapolis, MN. With computers on every surface and the latest issue of Merriam-Webster at hand, they will duke it out over commas vs. semicolons and what the correct answer is to who said what, when, where, and why. What photos to use for the article and where to place them on the page? Which image tells the story best?



Well, apparently, my assumptions are not too far off. I asked Monica Moses, editor in chief of the magazine, and she explained things to me this way: “I guess I just think the process is very nerdy. Most people probably don't realize how much effort it takes to prevent mistakes and assure clarity in a publication. Sometimes we talk about very, very minute things. ("Do you think that angel dancing on the head of a pin is 5'2" or 5'3"? Would you describe her as blond or towhead?") But it's all important. And sometimes, in discussing something seemingly tiny and innocuous, you discover a big problem.”



Alright then.



I am letting you all in on this a few days ahead time so that you can ask any question you may have about the whole magazine editing and closing process. What do you want to know? Post in the comment section if you are a crafthaus member, or email me via crafthauseditor at gmail dot com.

Let's see how this really works: 2 - A Day of Travel

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Replies to This Discussion

As a former magazine editor (The Metal Arts Guild of Canada's MAGazine), it will be interesting to see your perspective on this, and how AC's process is different from what we went through. Our staff was very lean - only 3 core people with a changing roster of writers. I do agree that the process is nerdy, but it's also fun.

Dianne - I sure look much forward to it and will keep you all informed!!

I am sure some of my questions were already on Brigitte's to-ask list:

How do they determine content?

What responsibility do they feel they have to educating on historical elements?

How would a maker who is not affiliated with a gallery come to their attention? 

How do they balance demands of print and web-based content?

Who do they think of as their audience?

Thanks, Ana. Great questions. I'll ask!

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Masthead Credits

Chanda Zea

Object Series 1, 2, 3

Porcelain, slipcast and altered with terra sigillata, rubber.
8” x 8” x 8”, 12” x 8” x 8”, 8” x 8” x 10
2013

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