Off the Page is a regular interview series produced by the National Magazine Awards Foundation. Today we chat with Judith Pereira, senior editor of Report on Business magazine, winner of 5 National Magazine Awards last year and one of Canada’s leading business and investigative publications.
NMAF: It probably isn’t surprising to your readers that Report on Business is a juggernaut of magazine journalism (gold medals for Business journalism at six of the last eight National Magazine Awards; also gold medals for Investigative Reporting, Science, Technology & the Environment and Magazine Covers, to name just a few). How would you describe the mandate of ROB to its readers, and its commitment to editorial excellence?
Judith: Our mandate at Report on Business magazine is simple: We engage the best journalistic talent in the business to report on the successes and failures, the breakthroughs and breakdowns of the most intriguing players in Canadian business at home and around the world.
Our experienced team of writers, photographers, illustrators, editors and designers focus on three main audiences: firstly, business leaders across the country—that’s why you’ll find a copy of Report on Business magazine in almost every executive office in Canada; secondly, the new-generation superstars who love an aspirational read; and finally, all those who are interested in the people, trends and brands that shape the way we work and live—as part of The Globe and Mail, we are attached to a well-respected brand that can open doors to a general-interest audience.
NMAF: How does winning a National Magazine Award help raise the profile of the magazine, with respect to your readers, your journalists or your bottom line?
Judith: When Report on Business wins awards, it shows that the magazine is one of the best, if not the best, in its field of business journalism. This kind of acknowledgement is a big boost for the sales team when they explain to advertisers why Report on Business magazine is a good buy.
Winning magazine awards in a variety of fields also gives the magazine a cachet among award-winning journalists, who want to see their pieces published in a respected publication that consistently garners nominations not just in business, but also in categories like science and technology, humour, arts and more. Similarly, Report on Business magazine attracts top photographers from around the world—names like Neil Wilder, Chris Buck and Matthu Placek—because our design and photography awards signal that we take those areas seriously.
NMAF: Are there any particular ROB stories in the past couple of years that you’ve been especially proud to see recognized by the National Magazine Awards judges, and why?
Judith: We were really pleased to see Greg McArthur and Graeme Smith get recognized for their investigative work on SNC-Lavalin [“Building with the Brigadier”; Gold Medals in Investigative Reporting and Business, Silver Medal in Politics & Public Interest, 2012]. Staffer Ted Mumford also deserves credit for his editing of it. They spent a lot of time and energy getting to the bottom of that story, and it paid off.
Eric Reguly’s piece about the insurance industry’s decision to tackle climate change [“The smartest guys on the planet“; Silver Medal in Politics & Public Interest, 2013] was a good example of the magazine’s determination to cover important international stories even if they aren’t specifically Canadian.
We were also thrilled to receive recognition for our coverage of asbestos—a joint effort between John Gray in Canada, Stephanie Nolen in India and photographer Louie Palu [“Where Asbestos is just a fact of life“; Gold Medal, Business, Silver Medal, Politics & Public Interest, 2011]. Our magazine is one of few Canadian publications still covering international stories with any depth, and these nominations show that we need to continue putting them out there.
Our Larry Fink cover, photographed in black and white by Anya Chibis, was one of our most unusual covers. Most top executives balk at the idea of getting playful in front of the camera, and Fink, who runs a $3.7-trillion fund, is no different. But the talented Chibis pulled off what is arguably one of our best covers of all time. The photograph of Fink crossing a Toronto street as he gestures to himself was an off-the-cuff moment that Chibis captured and it not only ended up on the cover–and winning the National Magazine Awards for Magazine Covers and Portrait Photography–but also graced Fink’s 50th birthday cake.
[Editor’s Note: Read our previous interview with ROB Art Director Domenic Macri about the Larry Fink cover.]
To discover more about Report on Business and many other great Canadian magazines, browse the NMA Archive for full-text articles and images of nominated and winning work from past years.
Read more Off the Page interview with National Magazine Award-winning editors, writers, illustrators, photographers and art directors.
The final deadline to enter this year’s National Magazine Awards is Monday, January 19. Enter online at magazine-awards.com.
Update: An earlier version of this post incorrectly identified the awards and year of the story “Where Asbestos is just a fact of life.” The post has been updated.]
Descant, the arts and literary quarterly published independently in Toronto since 1970, has announced that its forthcoming 167th issue, Vol. 45, No. 4, Winter 2014, will be its last.
Editor-in-chief Karen Mulhallen posted a farewell note on the magazine’s website, noting that after painstaking efforts to find alternative funding and deliberations among staff and funders, “we have jointly decided that Descant magazine in its present form is no longer sustainable.”
Grants have been in decline for more than five years, although other revenues such as sales and subscriptions have held steady or increased. We have cut costs everywhere we could, but many expenses over which we have no control have continued to spiral up.
Descant has won 6 National Magazine Awards since 1980 for its fiction, poetry and essays, most recently Adam Lindsay Honsinger‘s short story “Silence” in 2009.
What began as a mimeograph forty-four years ago evolved into a robust and stimulating literary magazine that has published works by Anne Michaels, Timothy Findley, Evelyn Lau, Margaret Atwood, Isabel Allende, Tom McGuane, Jane Urquhart, Dennis Lee, Michael Ondaatje and R. Murray Schafer, among many others. Lately its production office has been the historic George Brown building at the corner of Baldwin and Beverly Streets.
Browse through the back issues of Descant for a more complete perspective on what the magazine has published.
From the National Magazine Awards online archive:
“Up the Amazon–1959; Mexico–1960” by P.K. Page (Descant), Honourable Mention, Poetry, 2005
“Fudge” by Alex Pugsley (Descant), Honourable Mention, Fiction, 2010
Off the Page is back. In the latest installment of our popular interview series, we chat with National Magazine Award finalist and freelance writer Arno Kopecky, author of The Oilman and the Sea, shortlisted for this year’s Governor General’s Literary Awards.
NMAF: You’re an intrepid magazine journalist. We’ve read your reporting from Iceland and Columbia and others in The Walrus, from Beaver Lake in Alberta Views, and recently from the British Columbia coast in the Reader’s Digest story “The $273 Billion Question,” for which you were a finalist for a National Magazine Award this past spring. How did you get started on this journey to a freelance magazine writing career, and what do you find personally or professionally rewarding about it?
Arno: Intrepid? Thanks, but groping in the dark is usually how it feels. I studied creative writing at the University of Victoria, and when I graduated in 2002 I realized I had no idea how the world worked, let alone how to write about it; so, on Bertrand Russell’s advice, I travelled. Moved to Spain and got a job teaching English, and after two years I’d learned (barely) enough Spanish to land a reporting internship in Oaxaca, Mexico. A string of magazine and newspaper internships followed: New York, Toronto, Nairobi. I was basically a professional intern for a few years. Somewhere along the way I started selling the odd story to various publications, and before long I was too old to be an intern, but the writing and travelling continued.
The thing I love about my “job” is what I think many journalists love, whether they travel or not: Writing gives us an excuse to meet interesting people doing interesting things. We get to join the conversation.
NMAF: The RD feature story appears to have led to an even larger project, your latest book The Oilman and the Sea (Douglas & McIntyre), which won the 2014 Edna Staebler Award for Creative Non-Fiction and is shortlisted for the Governor General’s Award. Was there momentum from your fascinating voyage up the BC coastline to the magazine article to the book, and how did your writing journey proceed?
Arno: Actually it was the other way round: the book contract came first. I pitched the idea to my then-editor at Douglas & McIntyre about two days after my friend Ilja Herb (whose photographs are in the magazine story and book) bought a 41-foot sailboat. We wanted to see the oil tanker routes proposed by Northern Gateway for ourselves, and it was clear from the beginning that the trip would generate tens of thousands of words, if only we could find a home for them. Douglas & McIntyre signed on early and gave us the reason we needed to pursue the expedition.
But Reader’s Digest signed on very quickly as well, and was hugely supportive from the outset. My editor there fought to get me real estate for one of the longest stories that magazine has published in recent history.
Two weeks after I got home from the sailing trip, D&M went bankrupt. Suddenly that Reader’s Digest feature was the only thing I had going for me. Thankfully, Harbour Publishing swept in to the rescue and resuscitated D&M, so that by the time my RD feature was on the stands I had a book contract once again. All I had to do was… write a book.
NMAF: Your approach as a writer to the complex debate about the Northern Gateway pipeline could be characterized by journalistic curiosity, a sense of adventure (to say the least) and perhaps a sense of responsibility, at least with respect to seeking out grassroots perspectives in places such as Bella Bella, Kitimat and others. Was there a particular place or event in the evolving process that made you think, This is the heart of the story, this will grab the reader’s (and editor’s) attention?
Arno: The Great Bear Rainforest–as the north and central coast of British Columbia is known– was itself the thing that captivated me from the outset. In some ways it’s the story’s central character. Here’s this Switzerland-sized labyrinth of whale-jammed fjords and evergreen islands on BC’s north and central coast, the biggest chunk of temperate coastal rainforest left on earth, that also happens to be one of the oldest continually inhabited regions on the planet–Heiltsuk, Haisla, Haida, Gitga’at and many other coastal First Nations have called this place home since the last ice age. I’m not sure how many Canadians are aware of its existence. The fact that oil tankers are now poised to navigate through those waters for the first time was, in some ways, just an excuse to talk about this teeming, volatile, amphibious zone, the likes of which happen not to exist anywhere else on the planet.
NMAF: What is the significance to you of being nominated for or winning awards for your work, whether National Magazine Awards or others? Is there (or do you foresee) a measurable impact on your career?
Arno: I heard a debate on CBC a while back as to whether there weren’t too many awards in Canada’s literary scene these days; that may well be true, but it doesn’t feel so when you get a nomination yourself. It’s become a cliché, how hard it is to make a living at writing, and anyone who wants to give writers a few bucks and some attention-grabbing praise has my everlasting gratitude.
That said, it’s hard to measure what the impact is on your career. Doors crack open, but you still have to push through; money comes, and then it goes. I guess for me personally, insecure hack that I am, the psychological boost that comes with an award is its most lasting aspect. Recognition helps put the self-doubting demons to rest, and it can be called on to subdue them when they inevitably reappear.
Arno Kopecky is the author of The Oilman and the Sea, which is nominated for a Governor General’s Literary Award (to be announced next Tuesday, November 18) and won the 2014 Edna Staebler Award for Creative Non-Fiction. He is also the author of The Devil’s Curve: A Journey into Power and Profit at the Amazon’s Edge. Follow him on Twitter @arno_kopecky.
NMA winners headline shortlists for GGs, Writer’s Trust, Giller Prize
New book by Arno Kopecky investigates anti-mining activism
More Off the Page interviews with NMA winners
From the National Magazine Awards archive:
The $273 Billion Question, by Arno Kopecky
Reader’s Digest, Honourable Mention, Science, Technology & Environment, 2013
The Only Risk is Wanting to Stay, by Arno Kopecky
The Walrus, Honourable Mention, Investigative Reporting, 2011
Last night at the annual Giller Gala in Toronto, Montreal-based writer Sean Michaels won the $100,000 prize for his debut novel, Us Conductors. This remarkable story, noted the CBC, is
“… inspired by the life of Lev Sergeyevich Termen, the Russian inventor of the eerily beautiful theremin, taking him from the rambunctious New York clubs of the 1930s to the bleak gulags of the Soviet Union. The Giller jury praised Michaels’ writing, saying “he succeeds at one of the hardest things a writer can do: he makes music seem to sing from the pages of a novel.”
Like many a former Giller nominee and winner, Sean Michaels has built a successful career as a magazine writer. First nominated for a National Magazine Award for his music criticism in Maisonneuve, he won a gold medal National Magazine Award in 2010 for his essay “The Lizard, the Catacombs and the Clock” in the literary magazine Brick.
The intoxicating story of the underground labyrinths of Paris and the cataphiles who spelunk within them, Sean Michaels explored one of the more mysterious sides of the world’s most-visited city.
Parisians call it a gruyère. For hundreds of years, the catacombs under the city have been a conduit, sanctuary, and birthplace for its secrets. The Phantom of the Opera and Les Misérables’ Jean Valjean both haunted these tunnels, striking students descended in 1968, as did patriots during the Second World War. The Nazis visited too, building a bunker in the maze below the 6th arrondissement.
Read the complete article in the National Magazine Awards archive.
In 2012 Sean Michaels won a second National Magazine Award, alongside veteran Canadian photojournalist Roger LeMoyne, in the Words & Pictures category for “Ringmasters” – a portrait of Montreal’s Tohu circus published in The Walrus.
But the artists still remember what drew them under the lights: the risk, the thrill, the chance to brush up against another world. Experiments are once again taking place in the streets, in the metro — or even at Tohu, where management rents studios for as little as $2 an hour: a troupe called Recircle salvages equipment from the trash, while Cirque Alfonse reinvents the family circus with a show that turns Québécois stereotypes (sometimes literally) on their heads.
Read the complete article in the National Magazine Awards archive.
The National Magazine Awards Foundation congratulates Sean Michaels on the Scotiabank Giller Prize win.
Pick up your copy of Us Conductors and your favourite Canadian magazines today.
It was announced today that The Grid, Toronto’s popular and award-winning weekly city magazine, is closing after an inspiring three-year run following its evolution from Eye Weekly. Publisher Laas Turnbull, a former director of the National Magazine Awards Foundation, told Marketing magazine that the shut-down is due to declining ad sales, changes in media buying patterns and a lack of time to develop new revenue generators that the magazine had been testing. “We ran out of runway,” he said.
Since it launched in May 2011 with the first of its annual Chef’s Guides to Toronto, The Grid won 15 National Magazine Awards (10 Gold, 5 Silver) from 53 nominations; over that span, only The Walrus, Report on Business and L’actualité won more.
As we bid it farewell, the NMAF looks back on some of the most remarkable Grid content to be celebrated at the National Magazine Awards. (You can find more in our online archive.)
After all, to the magazine that once famously gave us 94 Excuses to Drink Now, let’s raise a glass.
The second-ever cover story by The Grid (May 19-25, 2011) swept the Gold medals in the categories Magazine Covers, Art Direction of an Entire Issue and Art Direction of a Single Article. That hadn’t happened at the NMAs since 1998.
At this year’s National Magazine Awards a new category for Infographics was introduced. The Grid snagged 5 nominations for this award, winning Gold for “How much does a street cost?”
Among its many popular “Guides,” The Grid’s “Guide to Getting Hitched” was a standout, winning Gold for Single Service Article Package in 2012. Other award-winning guides: “… to Father’s Day in T.O.“; “… to Buying a Condo“; “… to TIFF.”
The Grid’s popular website, thegridto.com, which drew 400,000 unique visitors per month, also garnered awards. “Are You Going to Eat That?” about food safety won Gold in Web Editorial Package in 2012.
Photographer Angus Rowe Macpherson’s spread of conceptual food-truck portraits (“Truckin’ A!“) won Gold for Creative Photography in 2012.
This cover shot was also nominated for Creative Photography in 2012.
The colourful feature “Toronto’s Waterfront Is…” won a Silver in Words & Pictures in 2011.
Finally, Danielle Groen’s impressive story on public-school sex ed won a Silver National Magazine Award in 2012. Read the entire article and view more award-winning work from The Grid in the National Magazine Awards Foundation’s online archive.
Our best wishes to the talented staff and contributors who made The Grid so wonderful, informative and beautiful.