Arta Ghanbari – Ryerson Review of Journalism :: The Ryerson School of Journalism http://rrj.ca Canada's Watchdog on the watchdogs Sat, 30 Apr 2016 14:26:17 +0000 en-US hourly 1 Tyler Brûlé On Making Magazines http://rrj.ca/tyler-brule-on-making-magazines/ http://rrj.ca/tyler-brule-on-making-magazines/#respond Thu, 14 Feb 2013 00:58:37 +0000 http://rrj.journalism.ryerson.ca/?p=4555 Tyler Brûlé On Making Magazines If one thing has stuck with Tyler Brûlé, the founder of Wallpaper* and Monocle, it’s that digital media cannot do what print magazines can do. Brûlé doesn’t have Twitter, Facebook or any other social media. He doesn’t believe in online media at all and follows suit with his magazines. On January 29, the Canadian magazine mogul shared [...]]]> Tyler Brûlé On Making Magazines

If one thing has stuck with Tyler Brûlé, the founder of Wallpaper* and Monocle, it’s that digital media cannot do what print magazines can do. Brûlé doesn’t have Twitter, Facebook or any other social media. He doesn’t believe in online media at all and follows suit with his magazines.
On January 29, the Canadian magazine mogul shared his views on social media and its relation to the journalism industry during a lecture at the Ontario College of Art & Design in downtown Toronto. Raised eyebrows, laughter, and applause broke out as he told the story of his career and faults of the industry.

Brûlé started out in Ryerson University’s journalism program but dropped out just before his third year to move to Manchester to be a television reporter for the BBC. It didn’t take long for him to realize that he didn’t want to work in television. He knew that he didn’t want to write either but he had always liked magazines, the freedom of the print medium and being able to pitch stories.

Years later, Brûlé made an important decision: he was going to launch his own design magazine and the first issue of Wallpaper* hit newsstands in September of 1996.

The ambitious tastemaker went on to launch Monocle, a magazine devoted to world affairs, business, design, and culture. Monocle hit newsstands in February of 2007, and, according to Brûlé, has grown at a rate of about eight or nine per cent—impressive for print, a medium that’s currently gasping for air elsewhere. The secret, he says, has to do with the Monocle branding identity and the willingness of readers to associate themselves with it.

“One of the greatest failings of media right now is that people forget that there is huge value in what this says about you,” Brûlé said. “People concern themselves with their sunglasses, what luggage they’re going to have, the shoes they’re wearing, and this is just as important. And this is something that digital media cannot conquer.” This is why Monocle readers can forget about an iPad edition of the magazine, Brûlé says, remarking that he thinks the only people who are making money on the iPad are in the porn business.

His traditional views on journalism and enthusiasm for print media is hopeful, to say the least, but perhaps something to aspire to.

“Social media, hopefully, is going to be what we’ll do afterwards, which is having a drink, looking at each other in the eye, exchanging business cards and being at the next party,” Brûlé says. “That’s what it should be about and what we have been doing for six years.”

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Changes in Style http://rrj.ca/changes-in-style-2/ http://rrj.ca/changes-in-style-2/#respond Fri, 08 Feb 2013 01:04:24 +0000 http://rrj.journalism.ryerson.ca/?p=4560 Changes in Style While readers may not notice a publication’s stance on the serial comma or whether it spells smartphone as one word or two, these minutiae are all painstakingly detailed in newsroom Bibles: the style guides. In the case of Canadian newspapers, one of these is likely the CP Stylebook; another is the house style list, assembled [...]]]> Changes in Style

While readers may not notice a publication’s stance on the serial comma or whether it spells smartphone as one word or two, these minutiae are all painstakingly detailed in newsroom Bibles: the style guides. In the case of Canadian newspapers, one of these is likely the CP Stylebook; another is the house style list, assembled by editors and copy editors, and representing what Toronto Life executive editor Angie Gardos calls “a living, breathing, ever-evolving work in progress.”

The style guide was uncharacteristically thrust into the spotlight last November, when The Associated Press Stylebook, widely used in the U.S., decreed of “homophobia” (and “Islamophobia”) “Do not use in political or social contexts.” The rationale, as AP deputy standards editor David Minthorn explained to Politico, is that these terms are inaccurate and imprecise. He suggests journalists use “anti-gay” or “bigoted” in place of homophobia, because it resembles an unreasonable hatred toward homosexuals, rather than fear, which is evoked by “phobia.”

Michelle Higgins, Toronto Life copy editor, says of this explanation: “I can see the argument they’re making in terms of accuracy, but I don’t know if outright banning it is the right way to go. I think people can take it too far as well, in terms of being politically correct. You’re walking a fine line.”

AP’s decision prompted strong reactions, many of them angry. Slate, The Huffington Post, and Politico, among others, critiqued the call, and so did their readers. One The Huffington Post commentator summed up the backlash well: “‘Homophobia’ has been a perfectly good English word for half a century, precisely because it connotes a meaning that is not well expressed by other words or phrases. There are folks who claim to be ‘anti-gay’ not because they are ‘homophobic’ but because they are ‘pro-family.’ Whether this claim is rational or not, the fact remains that ‘homophobic’ conveys a unique meaning to the speaker and the listener in that statement—one that would be obscured by the ‘fixes’ proposed by the AP.”

The fuss over AP’s “fix” obscured the fact that there’s a thoughtful process behind these sorts of changes. According to Gardos, editors keep in mind issues like common usage and “the shortest, most economical approach” when considering changes to their style guides. This was the case when Toronto Life’s editorial team was deciding on a term to refer to the gay and lesbian community.

“Recently, we talked about whether to use LGBT or LGBTQ, seeing as it’s being stringed longer and longer to now LGBTTIQQ2SA. You can’t be all-inclusive; you’re always going to alienate somebody who’s going to feel left out,” she says. “In most cases, we probably avoid that acronym altogether because it’s just not very reader-friendly.” (The magazine decided on LGBT.)

The debate has also come up at the Toronto Star, sparked by a reader complaint to the Star’s public editor. “You could talk about so many categories when talking about gays and lesbians, and it’s especially coming up. Some say ‘transgender’ and ‘transgendered,’ for example,” Jon Ohayon, the Star’s team editor in features, says. “We definitely do consider the consensus on how a queer wants to be called.”

Ultimately, the goal of style guides is to use neutral, inclusive language that isn’t offensive to readers, yet is clear, concise, and easily understood. But each publication has a distinct readership, which is where an in-house guide comes in, to represent its distinct voice. The Walrus, for example, capitalizes “aboriginal,” when most major publications leave it lowercased. (“The Walrus capitalizes those things as recognition of respect and peoplehood, and reflecting what is becoming more and more common in the ways in which people refer to themselves,” explains managing editor Kyle Carsten Wyatt.) 

 Where does AP stand on this issue? It seems to favour LGBT, but recognizes GLBT and tolerates LGBTQ. Its primary advice regarding their use is all business: “The abbreviation should be spelled out on first reference.”

 Style guides will continue to be updated, as decisions regarding the appropriate language and terminology come up for publications. As the feedback and reaction to the AP’s changes demonstrates, they won’t be taken lightly.

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