{"id":648,"date":"2010-09-16T17:59:58","date_gmt":"2010-09-16T17:59:58","guid":{"rendered":"https:\/\/niemanstoryboard.org\/2010\/09\/16\/longshot-stranded-crowdsourced-magazines-storytelling-whats-in-it-for-me\/"},"modified":"2024-03-04T18:53:06","modified_gmt":"2024-03-04T18:53:06","slug":"longshot-stranded-crowdsourced-magazines-storytelling-whats-in-it-for-me","status":"publish","type":"post","link":"https:\/\/niemanstoryboard.org\/2010\/09\/16\/longshot-stranded-crowdsourced-magazines-storytelling-whats-in-it-for-me\/","title":{"rendered":"What\u2019s in it from me? Crowdsourced magazines and storytelling"},"content":{"rendered":" \n
\n
\n As a child, did you ever imagine yourself waiting for a call from people in need, people who were praying that you’d see their signal and come to the rescue? If so, you might ha<\/span>ve<\/span> the makings of a modern magazine writer. And editors for some recent <\/span>crowdsourced<\/span> ventures are glad you’re out there listening.<\/span>

\"\"<\/a>One enterprising editor did call for help in the wake of a disaster earlier this year. When Iceland’s Eyjafjallaj\u00f6kull\u00a0volcano belched an ash cloud over Europe and brought air travel to a standstill, Andrew Losowsky was stranded in Dublin. Having already demonstrated a knack for creating what he calls \u201cexperiences\u201d (from pop-up museums<\/a> to his viral \u201cThe Internet is Sh*t<\/a>\u201d project), Losowsky went to work. He put out a call for other arts and editorial types who were similarly stranded to get in touch with him. Megaphone sites like BoingBoing and Kottke got the word out, and soon Losowsky found himself with a pool of contributors.

Five months later, Losowsky and design director Matt McArthur have\u00a0delivered Stranded: Stories from beneath the Icelandic Ash Cloud<\/a>. A compilation of assignments completed during ash cloud exile, the magazine includes a variety of unique contributions — one is a paper craft project, another involves the contributor going about his day as if he were at home. Losowsky detailed how he tried to match the challenges he posed and the professional skills of his exiled contributors:
One person was a novelist who also writes all of the Tom Clancy video games, but as a novelist he writeshorror stories. So I asked him write a horror story about being lost inside the ash cloud. Someone else was a writer for the Tate Online<\/a>, the Tate Museum\u2019s website. I asked him, \u201cWhat if the ash cloud weren\u2019t a volcano? What if the ask cloud were an artistic happening to make people think about climate change? How\u00a0would that fit into the history of artistic happenings?\u201d\u00a0Somebody else from San Francisco who creates hand-drawn cartoons and zines, I asked him to create a mini-zine based on all the modes of transport he\u2019d been on while trying to get back home.<\/blockquote>
Losowsky used a short survey to capture some of his contributors’ personal stories, from a newlywed separated from her husband to another woman desperate to change her partner\u2019s mind after a breakup. If the final product isn\u2019t fully narrative, he suggests that pieces of the ash cloud\u2019s \u201cuber-narrative\u201d peek through, rising out of the series of smaller stories recounted by those whose lives were disrupted.

Addressing the collective nature of the ash cloud experience, Losowsky also had all \u201cStranded\u201d contributors complete some common tasks in addition to their particular assignment. Everyone was asked to send in a picture of their bed and to go into a local bar and ask for a \u201cVolcano\u201d and get the recipe for the resulting drink.

Losowsky explained why he chose a print magazine for his format, saying
A magazine is a space which is all about disparate voices and disparate imagery, and trying to create a single flow, a narrative flow, and the challenge of pulling all these things together to create one experience. So I felt that a magazine was a great way to do this. And by doing it with print-on-demand, with MagCloud<\/a>, what that means is that I suddenly don\u2019t need to buy 2,000 copies to have my own magazine. If I want to make a print magazine, it\u2019s just the time I put into it. That made a huge difference. Otherwise, I’d havemade it a website, which for this wouldn\u2019t be right.

For a website, if it\u2019s not constantly updated I think it loses something, whereas a magazine or book is something finished. Yet I would have thought twice about investing a couple thousand dollars of my own money in the hopes that I might<\/em> get it back. I haven\u2019t had to do that, which has been fantastic.<\/blockquote>
\"\"<\/a>A month after Losowsky got his inspiration for \u201cStranded,\u201d a trio of magazine lovers on the West Coast launched their own experiment, in the form of a magazine created out of crowdsourced content over a single weekend.\u00a0The effort, 48 HR Magazine, drew 1,500 submissions through a dedicated site and impressive word-of-mouth on Twitter. They let observers be voyeurs for some of their editorial discussions and updated site visitors on the process throughout the production cycle.

After some legal discussions with CBS over their initial choice of moniker, the trio renamed their publication Longshot. (Despite its short life, 48 HR Magazine won a Knight-Batten Award of Special Distinction at a Newseum reception in Washington, D.C., this week.)

On the topic of whether the group worried about the limitations on content that result from the short time frame for submissions, Longshot co-founder Sarah Rich told Storyboard:
We have definitely learned that truly in-depth reporting, investigative reporting, can\u2019t be done in the time frame that we\u2019re giving. There have been examples of stories that we\u2019ve published where a lot of the research had been done prior to the call for submissions, but the writing happened in that 24-hour period, or somebody had already written on a topic and so could do something else related to the same subject. We don\u2019t say we can\u2019t do that, although we encourage people to do the bulk of what they\u2019re going to do during the 48 hours.<\/blockquote>
A number of pieces, even some short ones, in Longshot\u2019s first issue<\/a> have a storytelling bent. Asked if they were aiming to structure each issue around some larger narrative, Rich described the micro and macro of the magazine’s approach to story:
We are all very interested in narrative, but I don\u2019t know if there\u2019s one narrative arc that goes through the whole issue. So far we\u2019ve had the \u201cHustle\u201d issue and the \u201cComeback\u201d issue, and because those are pretty broad, we didn\u2019t lay out the magazine to have a singular narrative necessarily. But I think that the really interesting pieces, the pieces that got us all excited, were ones that were simultaneously narrative and informative in some way. Stories that reached back in some way to some unknown historic event or character —\u00a0the arctic piece<\/a> was a great example of that, and Erin Biba,who wrote it, is a very good writer.

The pieces that seemed \u00a0to strike a note were a combination of elegant storytelling and something culturally relevant, whether that\u2019s historical or current, or even if it\u2019s something about the future. It works even whenit\u2019s something light, like trick birthday candles<\/a>: what\u2019s the science behind those candles, and why don\u2019t they go out? Something educational, a little bit illuminating, and also I think we\u2019re all drawn to the writers who submit stuff that tells a great story.<\/blockquote>
Rich noted that Longshot\u2019s inspiration came from \u201cStrange Light<\/a>,\u201d a crowdsourced photographic documentation of a massive Australian dust storm a year ago. (Like \u201cStranded,\u201d \u201cStrange Light\u201d and Longshot\u2019s \u201cComeback\u201d issue all took their final form via MagCloud<\/a>.) Suggesting that the geographical focus of the Aussie project shows a way in which crowdsourced magazines can really excel, she noted the benefits of having some hard boundaries around the call for submissions \u2013 whether it\u2019s related to a time frame, a theme, subjects, or commonalities among contributors.

Longshot does pay its contributors, while Losowsky\u2019s volunteers have made it possible for $5 from each issue to go to the International Rescue Committee<\/a>. We\u2019ll have to wait to see where sales for both end up, but the Justice League of America<\/a> would no doubt be proud.\n <\/div>\n <\/div>\n","protected":false},"excerpt":{"rendered":"

As a child, did you ever imagine yourself waiting for a call from people in need, people who were praying that you’d see their signal and come to the rescue? If so, you might have the makings of a modern magazine writer. And editors for some recent crowdsourced ventures are glad you’re out there listening. […]<\/p>\n","protected":false},"author":1,"featured_media":3231,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[12],"tags":[],"topics":[],"authors":[24],"issue":[],"class_list":["post-648","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-essays-on-craft","authors-andrea-pitzer"],"acf":[],"yoast_head":"\nWhat\u2019s in it from me? 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