The Internal Operation of Publication Posting
What's the working protocol of journalism specifically for magazines? Also what is the role of editor-in-chief inside a magazine and the working hierarchy inside a magazine... who reports to with whom? Also how much should the editor-in-chief permit the owners/publishers/directors of the media company to interfere inside editorial content? These are just some of the questions that is normally asked around the inner workings of a magazine.
First, I'm not sure what you mean by "working protocol connected with journalism. " Are you discussing relationships with sources, between publishers and reporters, or something else? In the context of your other questions, I wonder if you mean something related to editorial authority, too.
Second, Various journalism roles can vary considerably, actually, from publication to newsletter. Some companies have more "hands-on" supervision styles, while others give their particular executives more autonomy. But, generally, the editor-in-chief has control on the publication's editorial contents and path, just as the advertising director has control on the ad contents, placement, and plans.
That doesn't mean the manager is God, because he/she stocks power with other high-ranking professionals. The editor's greatest management skill is working effectively with people -- understanding how to negotiate with other power brokers who may have a say in how the magazine is put together, distributed, etc.
I'll give you an example of hierarchy: In the trade mag publishing company where I worked, there was an individual manager over each magazine. We propagated a pool of in-house internet writers, and we each contracted individually with freelancers as needed. There also was an promotion director who managed the advertising sales and placement for every one of the three magazines. If I didn't such as ad placement in my mag, I could go to her and negotiate; she was generally agreeable within reason.
(Of study course, we usually prevented negotiations by talking in advance about special features that would want special space, and she was conversant with your standard placement of recurring features, etc. ) We also worked with execs at various support companies -- R. R.
Donnelley producing in Senatobia, Miss., which required us to meet certain format standards with the information we submitted and to stick to agreed-upon timetables; and the business that wrapped, labeled, and sent our magazines, which required clear directives, correct mailing label data, and adherence to agreed-upon timetables. We also caused the business office in our publishing company to communicate plainly about incoming bills from freelancers (then signing off on them) as well as other issues.
In other words, your hierarchy is broader, and much less linear, than I thought it might be from my studies in journalism. The real world is much, much, much more "cooperative" than it truly is territory based. And, sadly with regard to editors, the power tends to reside where the money is (hint: Not inside the editorial offices). Often, the ad director swings a more impressive stick than you will for editor. Make close friends with your ad director -- do favors when you can. You'll need to call those favors in at some time. Make sure you develop a relationship as allies as opposed to as adversaries.
Last, The editor-in-chief has limited options in simply how much he lets the magazine's owners, publishers, and other higher-ups hinder the editorial content. He should establish the level of his authority when they are hired and, if possible, have it spelled out in writing. Clear upfront communications are the best preventative step. He may help prevent problems by communicating clearly regarding his bosses about editorial directions and also getting buy-in as he goes along instead of waiting for issues to come up.
If issues are raised at a later date, the editor's best tool might be persuasive to his bosses and help them realise why his editorial judgment should dominate. However, when push comes in order to shove, the editor's choices tend to be limited: Stay and bow for you to his boss's wishes, violate his boss's wishes and take the results, or quit. If he has an employment contract that is violated, he may consider suing, but that has to be rare. Often, compromise (within the limits of your personal ethics) is the best option.
Janice S. Ellis Ph.D Is a Kansas City, MO based Writer, Author & Magazine Publisher.
