Editor David Remnick reveals that his role in choosing fiction or cartoons is a "convenient fiction." His department heads, as deep subject matter experts, vet thousands of submissions down to a select few. This collaborative model empowers experts and ensures quality while preserving the editor's ultimate, but rarely used, veto power.
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The perception of a single individual producing a high volume of quality content is often a myth. Behind the scenes, a dedicated team handles research, idea generation, drafting, and editing. True scale and greatness in content creation are achieved through leveraging the "agency of others."
Instead of debating AI's creative limits, The New Yorker pragmatically adopted it to solve a production bottleneck. AI-generated voiceovers make written pieces available for listening "well nigh immediately," expanding reach to audio-first consumers without compromising the human-led creative process of the articles themselves.
David Remnick contrasts The New Yorker's "stately" weekly metabolism with The Atlantic's faster, "reported op-ed" approach. He views it not as a better or worse strategy, but simply a different one. This highlights a conscious choice to protect the brand’s identity by refusing to compete on speed and volume.
Post-interview analysis suggests The New Yorker outlasted competitors by holding tight to its identity rather than chasing trends. While other magazines from its era pivoted to match the internet's pace and failed, The New Yorker's deliberate, slow evolution protected its core value, proving that resistance to change can be a strength.
Emanuel describes his leadership style as a "democratic dictatorship." This model encourages input and debate from many voices to ensure all angles are considered. However, final authority rests with a concentrated group of leaders who make the decisive call, blending collaboration with clear accountability in a fluid environment.
David Remnick, admitting he didn't know parentheses on a balance sheet meant losses, successfully pivoted The New Yorker to a subscription-first model. He identified the brand's deep reader loyalty as an untapped asset, correctly predicting it could outweigh declining ad revenue in a crucial move for legacy media.
Ari Emanuel describes his leadership style as a "democratic dictatorship." This involves gathering diverse opinions from all levels of the operation to inform decisions, but ultimately retaining centralized authority to make the final call. This balances collaborative input with decisive leadership, crucial for managing fluid businesses.
David Remnick acknowledges and embraces his magazine's identity as the "orthodox church of liberalism." This clear, unapologetic positioning creates a strong sense of community and loyalty. For a subscription business, serving a devoted "congregation" is more profitable than chasing a broad, dispassionate audience.
David Remnick equates his decision to stay off Twitter with marrying the right person. He argues it is a strategic choice to protect his focus and mental health from the platform's negativity and distraction. For a top editor, curating one's own inputs is as important as curating the publication's outputs.
When writing his book, Steve Garrity hired a developmental editor who did more than proofread. The editor cut 40% of the text and restructured the entire story to begin at the emotional low point, rather than chronologically. This highlights that an editor's greatest value can be in re-architecting the narrative for maximum impact.
