As the editorial pages editor at the Ottawa Citizen, Kate Heartfield oversaw 11 columnists until she resigned on November 18. Only one of those columnists isn’t white. The absence of opinion writers of colour means the paper may become a publication just for white people, admits Heartfield, who worries about the relevance of the conversation the Citizen is generating. “If you’re only publishing a certain selection of people, you’re not getting all the perspectives on any issue,” she says. “Canada is not that homogenous.”

This lack of diversity is not unique to the Citizen. Canadian columnists are predominately white, and this undermines the relevance of the conversation they help shape on a daily basis. But this problem cannot be solved overnight—and fixing it will require the support of those in power at newspapers.

People of colour make up only 3.4 percent of staff at Canadian newspapers, according to a 2004 study by Ryerson University professor emeritus John Miller, the most recent on the matter. This demographic makeup, which does not seem to have improved much since 2004, stands in stark contrast to the country’s population as a whole; visible minorities make up 19.1 percent of the population, according to the 2011 National Household Survey. Stats specifically examining the race makeup of Canadian columnists do not exist, but a scan through a staff list at any major Canadian newspaper suggests the opinion pages are even less diverse. A 2014 J-Source investigation also revealed that the median age of national columnists is 58.5 and 73 percent of the columnists surveyed were men. In other words, opinion writing in Canada is dominated by old white men.

Shari Graydon, founder of Informed Opinions, a project for amplifying women’s voices in opinion journalism, says this disparity is troubling because it means the problems facing the most marginalized people in Canada aren’t getting enough attention, while other issues are over-emphasized. That means the proposed solutions for problems facing marginalized people lack the insight that those most affected can offer.

Editors and publishers don’t want their outlets to predominately serve white people. Regardless, the internal demographic at newspapers across Canada is out of skew with the national demographic. Something has gone wrong.

According to the Vancouver Sun website, all 17 columnists identify as white, though the editor-in-chief Harold Munro says two columnists of colour aren’t listed. Columns often go to seasoned reporters, who often hold onto them for years, and columnists typically pass down from one editor to the next, so new op-ed managers lack the autonomy to fundamentally reshape the demographic of their pages.

Newsroom hiring has also diminished over the last few years, intensifying the problem by giving editors less power to address the imbalance. The Canadian Media Guild estimates that over 10,000 jobs were lost between 2008 and 2013. Mary Elizabeth Luka, a Banting postdoctoral fellow at York University, says companies typically function on a “last in, first out” basis, so the young reporters, who are more likely to come from diverse backgrounds, are unlikely to survive recessions.

While Heartfield says the longevity of columnist positions contributes to the imbalance, she did most of her recruitment for potential columnists—who are all freelancers at the Citizen—from op-eds. This process avoids some of the pitfalls of picking columnists from an imbalanced pool of staffers, but structural issues still make it hard for more people of colour to get hired. The problem, she says, is that the overwhelming amount of content in the newspaper produced by white people leads others to feel unwelcome and believe that, “Clearly this editor only wants white people, because that’s all they publish, so why am I going to send my stuff to be rejected?” The vast majority of submissions Heartfield received came from middle-aged white men, hampering her ability to get to know writers from other backgrounds.

But Luka says there’s no excuse for the extent of demographic imbalance because editors can select the voices they showcase. “If 90 percent of the people they’re getting solicitations from are middle-class middle-aged white men, then they still have 10 percent, and there are still people they can go out to solicit.”

Heartfield also admits many editors suffer from subconscious racism, which leads them to contact the same few white men when someone is needed for comment on developing issues. Minelle Mahtani, a professor in human geography at the University of Toronto who has done extensive research into race and representation, says whiteness is often mistaken for expertise. This can exacerbate subconscious racism.

There are solutions to the demographic imbalance. Luka says publications could broaden internship opportunities to give people of colour an avenue into the industry. Editors can diversify their predominately white columnist roster by actively looking for talented writers in underrepresented communities. The Toronto Star recently added Desmond Cole as a weekly columnist, for example. Mahtani says this sort of concerted effort in hiring opinion writers is important because, “It’s a nebulous process at best, and one that is offered to individuals not necessarily based on merit, but networks.”

The idea of columnists being assigned due to connections instead of merit points to a bigger problem. Mahtani says the pattern of overwhelming whiteness among columnists will continue until shot-callers at newspapers diversify. Luka adds that a significant amount of research collected since the 1970s demonstrates the necessity of diversity among those with power in journalism. “If you don’t have a variety of people with a variety of perspectives in charge of decision-making, then you won’t get decisions made that represent a multiplicity of views.”

A drastic reshaping of the upper echelons of Canada’s white-owned media monopoly is unlikely, so a truly diverse columnist roster may seem unattainable. Still, editors should do all they can to improve Canadian journalism. So far, they haven’t made full use of their limited autonomy.

Correction: An earlier version of this post identified Pacific Newspaper Group as an advertising subsidiary of Postmedia Network Inc. that acts as a photo service. Pacific Newspaper Group is a division of Postmedia and photographers work in the newsrooms. It also stated that Postmedia has centralized editorial duties in Hamilton, Ontario, but some copy editing duties are still done in the newsroom.

Do you have a difficult time identifying athletes in photos? Never fear, Vancouver’s the Province and the Sun have you covered.

Last week, both newspapers posted a photo of prospect Jordan Subban celebrating his first NHL exhibition goal as a Vancouver Canuck. The photo—credited to Steve Bosch of Pacific Newspaper Group, a division of Postmedia Network Inc. —identified Subban as the “dark guy in the middle,” squeezed between four happy teammates.

The caption lived for all of 15 minutes before being called out by readers on Twitter. Both newspapers quickly apologized both publicly and privately to Subban.

As the same caption ran on both websites, it likely came from somebody outside the newsroom and was missed by a tired, overworked editor. CBC’s Ian Hanomansing and Shane Foxman speculated as much, chuckling at the gaffe, while Carly Weeks with The Globe and Mail suggested  it was a lazy caption that relied on the lowest common denominator as a way to identify someone. There’s no real excuse here, but there is an explanation.

But as Yahoo! blogger Neate Sager points out, this error highlights the deeper issue of copy editing in Canada’s dailies. Today, most of Canada’s newspapers have centralized or outsourced their copy editing duties. Quick online stories aren’t always vetted. Australian Associated Press subsidiary Pagemasters North America edits giants such as the Toronto Star and the Globe, while Postmedia ’s 10 newspapers have centralized much of their print editing in Hamilton, Ontario. Too often, this makes readers the first judges of quality and credibility, leaving the paper open to public shaming. Removing the protective step of in-house copy editing is like leaving your shoes untied—you may go along fine for a while, but at some point you’re going to trip up.

If running whatever caption sent in by the photo service is common, anybody could have missed it when posting the story at 10 p.m. There were probably editors around the country wiping their brows the next day, thinking, “I’m glad that wasn’t me!”

Saturday Night, the magazine that hasn’t made a penny for more than 40 years, has always been a hard sell. And now that the venerable but perennially money-losing magazine is operating on a controlled-circulation basis, few media forecasters are predicting an easier economic future. At the magazine’s glitzy launch party last October at Toronto’s Royal York Hotel, David Olive, editor of Report On Business Magazine, foresaw a rocky ride. “The bigger the launch, the bigger the fall,” he said, recalling the demise of Vista, Domino, Quest and City Woman.

Under the intense scrutiny of the country’s magazine industry, consulting publisher Jeffrey Shearer has been charged with the burdensome task of turning Saturday Night, which is one of Canada’s most expensive magazines to produce and is estimated to still be losing money, into a profitable success. Shearer rode the controlled-circulation concept to heady heights with Quest and City Woman, as executive vicepresident of Comac Communications Ltd., until Quest got into trouble in the early eighties. He ought to know that controlled circulation is a hard sell.

But Shearer believes Saturday Night will not only break even, but will also see profits within the next two to five years. “We’re doing tracking studies by phone and personal interviews with readers after every issue. We’re getting an excellent response. Our targetted audience is clearly interested in this broader range of editorial material. They may not have read it before, but they’re reading it now,” he says.

Restructured from a subscriber base of 127,000 to a controlled-circulation newspaper supplement of 400,000, gracing homes with incomes of $40,000 a year or more, the new Saturday Night is delivered with selected issues of the Montreal Gazette, The Ottawa Citizen, the Calgary Herald, the Edmonton Journal, The Vancouver Sun and The Globe and Mail. Still available on the newsstand and delivered by mail to paying subscribers outside the targetted controlled-circulation areas, the relaunched magazine is a controlled/subscriber hybrid.

Patrick Walshe, vicepresident of the advertising firm Harrison, Young, Pesonen and Newell Inc., says, “It’s a quasi-controlled magazine. A magazine that will succeed is one that is really well-focused and well-niched, and I don’t see Saturday Night delivering on these scores. The key issue is not the receivership of 400,000 magazines, but the amount of time spent by its readers and how they value it.”

Janet Landreth, media group head of the McKim Media Group, explains, “Advertisers in the first few issues weren’t taking a big risk because of the huge discounting that went on.” The rejuvenated Saturday Night will have to continue discounting rates until it can assure advertisers it is not only being received but read. Nevertheless, advertising sales manager Jennifer Bedford says ad sales are strong. “In the first three issues alone, we’ve generated more advertising business than we did all of last year.”

The flashy premier issue resembled a cross between Vanity Fair and Harper’s, instead of the blend of stodginess and cultural nationalism that characterized its former incarnation. There was more lavish display of type, artwork, photography and graphics. But despite the new look, clearly aimed at a younger audience, there wasn’t much new in the new Saturday Night. Ironically, the cover, an arresting photo of Cowboy Junkies’ Margo Timmins, left the impression that the magazine was outdated. Timmins might have been hot, say four years ago, but at the time of the release of the magazine, she wasn’t on tour, nor had she produced a new record.

After reviewing the first issue, Doug Bennet, editor of Masthead magazine, didn’t think the restructuring was satisfying both new and old readers. “It’s unfocused right now. The new graphics are amazing, but it’s not known who they’re trying to appeal to,” he said. “As a result of this ambivalence, advertisers will probably wait for six months to a year before buying.”

But despite such negative predictions, there are at least a few who don’t expect the new Saturday Night to fall from the sky just yet. Hugh Dow, president of Initiative Media, agrees there is some obvious fallout from the previous readership, but he believes the magazine will ultimately attract a broader audience. “It has a sizable circulation and good editorial content.”

Joann Webb, who has been the editor of a number of publications, sees the magazine as a breath of fresh air. “I am personally excited that Saturday Night has the guts to move forward in the midst of the bleakest environment I’ve ever seen. I don’t know if they will succeed, but I sure as hell hope they do.”