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How Did They Create That Cover? subTerrain

The finalists for the 37th annual National Magazine Awards have been announced — including ten nominations in the Magazine Covers category.

In a new blog series titled How Did They Create That Cover? the NMAF chats with the creative directors of the Magazine Covers finalists about how their covers were made. It’s a behind-the-scenes look at things we may or may not think about when we pick up a magazine and devour its pages.

Today we chat with illustrator Marlena Zuber, creator of this nominated cover from subTerrain:


NMAF: Can you tell us a bit about your style of illustration, and how you came to be an illustrator?

Marlena: I was privileged to attend Etobicoke School of the Arts for my High School years. My major was Visual Arts and my minor was dance. Then I was off to OCAD. I had to decide if I wanted take the Fine Art or the Commercial route. I had been working at a children’s book and toy store and fell in love with the storybook section. Often when I got my pay cheque I would buy a favourite book based on the illustrations. I still have those books and have a little one that I can share them with now. That’s been pretty nice.

Those illustrators inspired me and I thought, I want to do something like that. I will also admit that I was typically afraid of being that mythical or perhaps not-so mythical “starving artist” if I went into the drawing and painting programs (the common sheepish story of the illustrator). Illustration was a viable choice. And so I studied illustration and I actually liked it. I liked the challenge of editorial work, coming up with a concept and working with text. I graduated, had offers from agents and dove straight into the world of mainly editorial illustration.

My style is something that’s evolved over the years and continues to evolve. One thing that seems to be a constant is my use of ink or fine pens. My work is also more drawing than painting. I’ve always loved playing with texture and pattern. My sketchbook of hidden art sometimes also inspires my illustration style. I like when things look immediate, slightly messy, and slightly unfinished. If a concept allows, I will draw people in group formations. I am interested in what we do in groups: dancing, sports, entertaining, recreation, etc. Oh yeah, and I have been influenced by artists and illustrators like Edward Gorey, Henrik Drescher, Frida Kahlo, Leanne Shapton and David Shrigley.

NMAF: There are a lot of small scenes happening on the cover. What are some of these groups of people meant to depict?

Marlena: Every group is sitting round a fire, like a campfire. One group is roasting marshmallows, another group is dancing, another one is in group therapy, another are telling Mexican ghost stories, and another group is making out or about to make out. All of them seem to be in the desert, which seemed like a perfect weird hot place. The theme for this issue was Heat. I was influenced by two main things: my love for campfires and photos of Burning Man Festival that I found on the Internet. The groups are like the stories inside the issue. The theme of heat is explored in a range of sexy, philosophical, scientific and magical ways.

NMAF: How were the colours chosen and why?

Marlena: I went heavy on all shades of red due to the theme of Heat. I used blue as a compliment. I also generally like using this palette.

NMAF: What were some of your challenges and concerns during the making of this cover?

Marlena: Brian Kaufman, the editor-in-chief, asked me to incorporate titles of some of the stories in the issue with the campfire groups. It was a fantastic idea and he suggested that I try incorporating the text in the smoke of the fires rising above each group. It simply didn’t look good. It took me awhile to problem solve. In the end I placed them almost like little playful 3D characters near or around the fires. That seemed to work.

NMAF: What did you use to create this cover? Can you explain the process?

Marlena: I work in a traditional way: pen and ink on sometimes fancy, sometimes not-too-fancy paper. That’s exactly what happened on the cover. I did use Photoshop to clean it up and piece a few things together.

This interview was edited for content. Special thanks to Nadya Domingo for conducting the interview.


More ‘How Did They Create That Cover?’Fashion MagazineToronto LifeBC BusinessWestern Living, Report on Business

Check out the finalists for best Magazine Cover on our Facebook page. Share your feedback with us on Twitter: @MagAwards | #NMA14 | #MagazineCovers.

The Gold and Silver winners will be revealed on June 6 at the National Magazine Awards gala. [TICKETS]

How Did They Create That Cover? Report on Business

The finalists for the 37th annual National Magazine Awards have been announced — including ten nominations in the Magazine Covers category.

In a new blog series titled How Did They Create That Cover? the NMAF chats with the creative directors of the Magazine Covers finalists about how their covers were made. It’s a behind-the-scenes look at things we may or may not think about when we pick up a magazine and devour its pages.

Today we chat with Domenic Macri, art director at Report on Business and creator of two of the ten finalists for best Magazine Cover:

NMAF: Where was this photo taken and why was this location chosen?

Domenic: After taking some portraits in the BlackRock offices in Toronto, we convinced Larry Fink to continue the shoot just outside on Bay Street. He was apprehensive, and it was starting to rain. Once outside, the photographer, Anya Chibis*, had Fink walk across the street. And it was at this point that Chibis managed to capture Fink with his guard down.

NMAF: There’s a lot going on in the Larry Fink cover–his facial and body expressions are very animated. Was this staged or a candid photograph, and why did you decide on this image?

Domenic: Typically, we don’t get as much body language from high-profile business people—especially one who runs the largest investment fund in the world—so we couldn’t resist trying it on the cover. And since the story celebrated his achievements, we decided to run with it.

* Editor’s Note: Photographer Anya Chibis is also nominated in the category Portrait Photography for her work on this cover.

NMAF: Is the animal on the “Target” cover fake or real? How was this achieved?

Domenic: The image on the cover is in fact Bullseye, the official mascot of Target. We managed to book a photo shoot with him when he was in Toronto. He was very well behaved.

NMAF: Was this always the image that you had in mind for the Target cover? What were some of the other ideas?

Domenic: When we commissioned the photographer, Aaron Vincent Elkaim, to get the shot, I already knew what I wanted—a close up of Bullseye’s distinct eye markings, which I could use on the cover. At the time, the Target marketing machine was working overtime, and stories and ads were appearing everywhere; most of the time, they were using the graphic red Target logo and portraits of Bullseye. I felt that by using the imperfect logo on Bullseye’s eye, along with the texture of his fur, we would be making an obvious connection to our cover story without looking like a promotional piece for Target.

NMAF: There isn’t a lot of text on this cover, other than the magazine name and headline on the bottom corner. What was the reason behind that decision? 

Domenic: Sometimes, when you don’t have the greatest image to work with on the cover, you can sell the story with strong lines. In this case, however, I had a strong graphic image, and I didn’t want to clutter up the image with blaring cover lines.

This interview was edited for content. Special thanks to Nadya Domingo for conducting the interview.

More ‘How Did They Create That Cover?’Fashion MagazineToronto LifeBC BusinessWestern Living

Check out the finalists for best Magazine Cover on our Facebook page. Share your feedback with us on Twitter: @MagAwards | #NMA14 | #MagazineCovers.

The Gold and Silver winners will be revealed on June 6 at the National Magazine Awards gala. [TICKETS]

How Did They Create That Cover? Western Living

The finalists for the 37th annual National Magazine Awards have been announced — including ten nominations in the Magazine Covers category.

In a new blog series titled How Did They Create That Cover? the NMAF chats with the creative directors of the Magazine Covers finalists about how their covers were made. It’s a behind-the-scenes look at things we may or may not think about when we pick up a magazine and devour its pages.

Today we chat with Paul Roelofs, art director at Western Living and creator of this nominated cover:

NMAF: Was this cover always what the magazine had in mind to depict the story, or were there other ideas? 

Paul: Not at all what we had in mind. The September issue is a landmark issue for us each year and features a large editorial package called Designers of the Year. It is a competition that WL hosts in many design categories. The issue celebrates the winners and there are quite large awards events that accompany the issue in Vancouver and Calgary. And so for the one issue each year we have the opportunity to break the mould, so to speak, and create something more conceptual.

The challenge is to find iconography that somehow covers the diversity of the categories, from architecture and interior design to fashion and industrial design, etc. Other thoughts ranged from creating a room set with pantone chips as artwork on the walls. Also: a still-life photograph of all different tools used across the genres.

NMAF: Why was the colour palette chosen to depict the Designers of the Year?

Paul: The visual icon was a swatch pad, like a pantone swatch fan. We landed on this since it seemed general enough to work across multiple design genres. As for the colours, we were inspired by Paul Smith colour palettes and embarked on creating our own palette that seemed fresh, bold and timeless, and not seasonal.

NMAF: How many people were involved in the making of this particular cover, and what role did you play?

Paul: Our entire senior group has a voice in this cover. We take a very collaborative approach. I drive the creative and so lead the group in partnership with the editor in chief. Once we landed on the idea, I sketched it out and contracted a 3D rendering artist, Mike Cormack, to help bring the idea to life. I had worked with Mike in the past for rendering retail products that were still in production and needed to be brought to life before they existed yet. We explored having a swatch fan built by a printing house and then photographed and retouched, but with the 3D rendering technology being so sophisticated today, it became the obvious choice for execution.

NMAF: Correct me if I’m wrong, but I think I spot Helvetica! Any reason behind the iconic font choice?  

Paul: That, my friend, is Univers and one of the fonts that debuted in the redesign that launched that same month.


This interview was edited for content. Special thanks to Nadya Domingo for conducting the interview.

More ‘How Did They Create That Cover?’Fashion MagazineToronto Life, BC Business

Check out the finalists for best Magazine Cover on our Facebook page. Share your feedback with us on Twitter: @MagAwards | #NMA14 | #MagazineCovers.

The Gold and Silver winners will be revealed on June 6 at the National Magazine Awards gala. [TICKETS]

How Did They Create That Cover? BC Business

The finalists for the 37th annual National Magazine Awards have been announced — including ten nominations in the Magazine Covers category.

In a new blog series titled How Did They Create That Cover? the NMAF chats with the creative directors of the Magazine Covers finalists about how their covers were made. It’s a behind-the-scenes look at things we may or may not think about when we pick up a magazine and devour its pages.

Today we chat with Catherine Mullaly, art director at BC Business and co-creator of this nominated cover:

NMAF: Can you describe what the setting was like at the photo shoot for this cover?

Catherine: I was not at the photo shoot for this cover, but Ben Oliver, our associate art director, was there. This was a joint collaboration and we entered the National Magazine Awards as co-contributors. We did not have time to scout our location so Ben (along with photographer Paul Joseph) went with the plan of shooting for the story and keeping his eye out for a good cover opportunity. The setting is real – it’s the meat cooler in the butcher shop where our subject (owner and butcher Jason Pleym) butchers his locally grown beef.

NMAF: What was the editorial decision behind the font placement, particularly how the words “Getting Killed” are in bold?

Catherine: When we saw the image we knew immediately it would make a stunning cover. The raw meat is jarring and I love the intense eye contact of the butcher. The focus of the image was the butcher and the cutting board – it made sense to place the main cover line right below. We had to darken the image a bit below so the cover lines really popped. Bold image – bold cover line. Our editor at the time, Tom Gierasimczuck, came up with our compelling headline and together it made for a cover hard not to pick up.

NMAF: Can you explain the process of setting up the meat?

Catherine: Rather than set up and planned, it is a true environmental photograph. The story was about small independent food distributors and this fellow, a local beef producer and butcher, was busy at work when they arrived. The table was laid out with these beautiful (if you’re not a vegetarian) fresh cuts of meat and as soon as Ben walked in he saw an opportunity for a shoot that would be a stunning cover. They did a quick light setup while the butcher was at work.

 NMAF: There are many different kinds of local food producers. Why did the magazine choose someone in the meat industry?

Catherine: This local meat producer (and butcher) was the lead of our cover story – it made sense to choose him for the cover. Most often we spend so much time planning and executing our covers and so many times there are a lot of challenges along the way. When we saw the results from this shoot we put any cover plans on hold and ran with this beautiful ‘real’ and for the most part unplanned cover image.

NMAF: The colours on the cover are interesting, particularly how the man’s outfit contrasts the red meat. Was this intentional?

Catherine: I love the simplicity of the colours in this cover, the rest of the photo is pretty neutral. The meat is red, his apron was blue – perfect. Together the two primary colours look great together. Whenever I have an opportunity to have primary colours on the cover I do. I actually added a little pop of yellow in the ‘button’ so we have all three primary colours.


This interview was edited for content. Special thanks to Nadya Domingo for conducting the interview.

More ‘How Did They Create That Cover?’: Fashion Magazine, Toronto Life

Check out the finalists for best Magazine Cover on our Facebook page. Share your feedback with us on Twitter: @MagAwards | #NMA14 | #MagazineCovers.

The Gold and Silver winners will be revealed on June 6 at the National Magazine Awards gala. [TICKETS]

See also:
Top 9 Infographics in Canadian Magazines
Top 6 Canadian Magazines for Art Direction
Top 10 Canadian Magazine Illustrations
Top Magazine Videos in Canada


How Did They Create That Cover? Toronto Life

The finalists for the 37th annual National Magazine Awards have been announced — including ten nominations in the Magazine Covers category.

In a new blog series titled How Did They Create That Cover? the NMAF chats with the creative directors of the Magazine Covers finalists about how their covers were made. It’s a behind-the-scenes look at things we may or may not think about when we pick up a magazine and devour its pages.

Today we chat with Christine Dewairy, art director at Toronto Life and creator of this nominated cover:

NMAF: Can you explain the process of choosing the child on the cover?

Christine Dewairy: Well, it had to be a mixed-race child, obviously.* But we also wanted to go in extremely close, and this little girl had such gorgeous skin, captivating eyes and lush curly hair. She was perfect. Also being about three years old, she was still in that very pure, sweet, innocent age.

*Editor’s Note: The cover story of this issue of Toronto Life, “Mixie Me” by Nicholas Hune-Brown, is also nominated for 2 NMAs this year.

NMAF: Did you always know that the image would only show a portion of the child’s face? 

Christine: No, but we did know it was a gatefold cover and that we’d need something on the flap. Showing only a portion of her face gave it impact and intimacy that would have been lost had the photo been more pulled back. I wanted the newsstand reader or passerby to be drawn in by the intense eye contact, and then the understated headline directly below.

Also, because the story wasn’t about this child in particular, but about a societal shift, by zooming in on the face, it becomes less about the person and more about the features — the eye, the hair, the skin, etc.

NMAF: Placing text on someone’s face is unique and unconventional for magazine covers. Did you have any hesitations about this? 

Christine: I didn’t want to lose the immediacy and impact of the larger-than-life face, to make room for the headline. The type becomes part of the image. You can’t look at one without absorbing the other simultaneously.

NMAF: Some might look at this cover and be immediately drawn to the child’s eye. In your opinion, what do you think is the focal point of this cover?

Christine: The viewer’s eye might wander at first, from the girl’s eye, to her lashes, her curls, and so on, but I think it’s impossible to just stop at the eye. Her features frame the type in such a way that marries the elements.

NMAF: What were some concerns and challenges when putting together this cover?

Christine: One question was how small you can go with the main sell, and how low you can place it on the page, and still draw people’s attention. We decided to keep it relatively small. I think sometimes a whisper can be louder than a shout, especially when you lay it on an enormously compelling image, like this one, and the words are super clear and unequivocal.


This interview was edited for content. Special thanks to Nadya Domingo for conducting the interview.

More ‘How Did They Create That Cover?’Fashion Magazine

Check out the finalists for best Magazine Cover on our Facebook page. Share your feedback with us on Twitter: @MagAwards | #NMA14 | #MagazineCovers.

The Gold and Silver winners will be revealed on June 6 at the National Magazine Awards gala. [TICKETS]

How Did They Create That Cover? Fashion Magazine

The finalists for the 37th annual National Magazine Awards have been announced — including ten nominations in the Magazine Covers category.

In a new blog series titled How Did They Create That Cover? the NMAF chats with the creative directors of the Magazine Covers finalists about how their covers were made. It’s a behind-the-scenes look at things we may or may not think about when we pick up a magazine and devour its pages.

Today we chat with Eng Lau, art director at FASHION Magazine and creator of this nominated cover:

NMAF: Was it difficult to pick the final image of Miley?

Eng Lau: There are a few factors to consider when picking a cover image. Firstly, the energy of eye contact; will her look grab the attention if you are just browsing through the newsstand? Secondly, is there room for cover lines? We have to ensure that all cover lines are legible, in order to convey the content in the issue that would appeal to a wide range of readers. The image satisfied both counts, so no, it was not a difficult choice.

NMAF: How was the blue and red shadow effect achieved?

Eng: The red and blue shadow helps to create a 3-D effect, and [helps] make it pop against the plain white background. The shadow in the image is a result of a particular lighting effect used by the photographer. Colours are what make the image pop in an elegant way. You need just enough of a contrast, but it must still be stylish.

NMAF: There are certain words on the cover that are set in boldface red. Can you explain why these words were chosen specifically?

Eng: We highlighted certain words to create balance of the colours on the layout and to make it more dynamic.

NMAF: Miley is quoted on the cover (“Shocking is what I’m good at”). How was this quote chosen?

Eng: The editorial team looks over the article and selects a few outstanding quotes. We meet to look over the selections and see what works the best and fits into the space comfortably.

NMAF: With a cover like this, people’s attention might be immediately drawn to the celebrity. How do you draw their attention to the content as well as the image?

Eng: The strong image is what initially draws an individual to the magazine, and once they stop to look at it, we have to ensure that the cover lines are visually appealing as well as succinct and enticing to readers. Both image and text have to work in harmony to create a powerful and appealing cover, and we are very pleased to have received a National Magazine Awards nomination!

[This interview was edited for content. Special thanks to Nadya Domingo for conducting the interview.]

Check out the finalists for best Magazine Cover on our Facebook page. Share your feedback with us on Twitter: @MagAwards | #NMA14 | #MagazineCovers.

The Gold and Silver winners will be revealed on June 6 at the National Magazine Awards gala. [TICKETS].


Off the Page, with Canada’s History editor Mark Reid

Off the Page appears regularly on the Magazine Awards blog. Today we catch up with Mark Reid, editor of Canada’s History, winner of the 2012 National Magazine Award for Words & Pictures.

NMAF: Canada’s History (formerly known as The Beaver) is one of this country’s oldest publications, six years away from its centennial. What do you consider the mandate of the magazine to be, and has this changed much in the past 94 years?

Mark Reid (Photo: Marianne Helm)

Mark Reid (Photo: Marianne Helm)

Mark: The mandate is to turn as many Canadians as possible on to their history, and to convince them that our stories are as interesting, entertaining and engaging as any other nation’s. This mandate has changed immensely over the years. In 1920, the magazine began as an in-house newsletter for the Hudson’s Bay Company. As years passed and the fur trade died, the magazine became more of a nostalgia magazine for the “days of yore” on the trap lines, telling stories of the Far North. By the in the 1980s, it had changed focus again, becoming increasingly a “history magazine.” And in 2010, we changed the name to reflect our current focus, going from “The Beaver” to “Canada’s History.”

NMAF: At last year’s National Magazine Awards Canada’s History won Gold in the category Words & Pictures, for “On Thin Ice,” an illustrated memoir of the 1972 Summit Series by Terry Mosher (a.k.a. Aislin), who covered the iconic event as a young political cartoonist. As an editor, what attracted you to this story? And what was the significance for you to have it win a National Magazine Award?

Mark: The ’72 Summit Series is a touchstone moment in our collective cultural history. This Cold War moment is one of a handful of “where were you when” turning points for a generation of Canadians. When I learned that Terry Mosher had travelled to Russia to cover the event as a cartoonist, I knew that we needed to share his story with our wider audience of history lovers.

I asked Terry to colourize the original cartoons he produced in 1972, and share the behind the scenes tales that inspired them. After viewing them, I realized that one cartoon was missing from the story – an image of Paul Henderson scoring the winning goal. Terry’s final cartoon, with Paul Henderson memorialized on a Canadian version of Mount Rushmore, was perfect.


The Canada’s History team was collectively thrilled to work with Terry’s fantastic art, and to share his story with Canadians. For the package to win a National Magazine Award was just icing on the cake — an exciting endorsement from our peers that we received with gratitude, and that we dedicate to everyone with a passion for the past.

NMAF: You recently launched a micro-site called Destinations. How did this project come about, and what do you hope to achieve? 

Mark: While Canada’s History is our flagship magazine, our History Society is engaged in myriad programs. Canada’s History Society is a small Winnipeg-based non-profit that also produces a kid’s history magazine, and runs a host of awards and educational programs for students, teachers and community groups.

Our Destinations site is the latest attempt to reach a new audience of history lovers, in this case, history lovers who combine this passion with travel. Our hope is to work with museums, archives, and tourist sites to help them share their stories with a wider audience. It’s all part of our multipronged approach to encouraging and strengthening interest in our collective past.

NMAF: 2014 figures to be a big year for Canada’s History, with the hundredth anniversary of the start of World War I on the minds of many Canadians. What do you think is the significance of this milestone for Canada, and can you tell us a bit about how the magazine will be covering the anniversary?

Mark: The start of WWI is certainly a huge part of our publishing plans. Our key publication will be a coffee-table book on the subject, titled Canada’s Great War Album. It will be published by HarperCollins Canada, and features essays on all aspects of the war by the country’s top historians and writers, along with photos and artifacts relating to the war that have been sent to us by our readers.

Our goal is to commemorate the courageous men, women and children who lived, loved, fought, served and sacrificed during that difficult time. It will be available for sale in the fall of 2014. On the magazine side, we are also working on a special package of articles that will examine not only WWI, but also WWII, which will mark the 75th anniversary of its start in September 2014. It’s an exciting time to be publishing history, and we look forward to bringing Canadians many more great articles and publications in the months and years to come.

Mark Reid is the editor-in-chief of Canada’s History magazine, published by the History Society in Winnipeg, which also publishes Kayak: Canada’s History Magazine for Kids. Follow them on Twitter @CanadasHistory and @MarkReidEditor.

More Off the Page interviews with NMA winners
Canada’s History in the National Magazine Awards archive
Submissions for the 37th National Magazine Awards

Images courtesy and National Magazine Awards Foundation.

Off the Page, avec Isabelle Arsenault

La série Off the Page paraîtra périodiquement dans notre blogue. Cette semaine, nous découvrons quoi de neuf avec l’illustratrice Isabelle Arsenault, lauréate de 2 Prix du magazine canadien et de 2 Prix littéraires du Gouverneur général.

FNPMC: Nous vous félicitons de gagner récemment votre deuxième Prix littéraire du Gouverneur général (illustrations, jeunesse, français). Votre livre, Jane, le renard et moi, écrit par Fanny Britt, raconte l’histoire d’Hélène, une jeune fille qui fait l’objet d’intimidation par ses condisciples, se sent inférieure et dont le seul plaisir est de lire Jane Eyre. En quoi cette histoire a-t-elle une résonance chez vous, et comment avez-vous créé l’image d’Hélène?

Isabelle : Le personnage d’Hélène est une jeune fille discrète qui se retrouve sans amies à un âge où l’appartenance à un groupe prend de l’importance.  Sans avoir été moi-même victime d’intimidation, je me suis inspirée de souvenirs de ma propre jeunesse, de scènes dont j’ai été témoin et d’impressions que ces souvenirs m’ont laissé.

J’ai décidé de représenter Hélène comme étant une fille sans style particulier, plutôt neutre et effacée à laquelle le lecteur puisse facilement s’identifier.

FNPMC : Plus tôt l’année 2013, vous avez remporté un Prix du magazine canadien, votre deuxième, pour une série d’illustrations dans Québec Science, dans le cadre d’un article intitulé « Organes recherchés ». Quel processus créatif utilisez-vous lorsque vous illustrez un article de magazine? Puisez-vous votre inspiration exclusivement du texte, ou d’autres sources?

"Organes recherchés," illustration par Isabelle Arsenault, Québec Science

“Organes recherchés,” illustration par Isabelle Arsenault, Québec Science

Isabelle Arsenault (photo: Martine Boisvert)

Isabelle Arsenault (photo: Martine Boisvert)

Isabelle : Je puise mon inspiration dans une variété de sources; livres, magazines, internet, nature, etc.  J’aime bien lire le texte à illustrer plusieurs fois afin de bien m’en imprégner, pour ensuite faire quelque chose de complètement différent comme prendre une marche, faire du ménage, une sieste, du yoga.

Ça m’aide à m’aérer l’esprit et à laisser entrer les idées.

FNPMC : De quelle façon le fait de remporter un Prix du magazine canadien, ou un Prix du Gouverneur général, comme vous l’avez fait l’année dernière pour Virginia Wolf, a-t-il contribué à l’avancement de votre carrière en illustration, ou a-t-il été une source d’inspiration pour cette carrière?

Isabelle : Les prix sont une forme de reconnaissance qu’il est toujours apprécié de recevoir.  Pour ma part, je travaille de façon plutôt solitaire et ce, particulièrement lorsque je planche sur un projet de livre.  Recevoir ce genre d’honneurs me donne l’impression d’aller dans la bonne direction et m’encourage à continuer, à me dépasser, en plus d’être une belle carte de visite.

"Une brebis egaree moi?" Finaliste pour un Prix du magazine canadien, 2009

“Une brebis égarée moi?” (L’actualité) Illustration par Isabelle Arsenault – finaliste pour un Prix du magazine canadien, 2009

Isabelle Arsenault est une illustratrice canadienne lauréate dont le travail a été publié dans Québec Science, L’actualité, Explore et d’autres magazines, ainsi que dans 10 livres. Son livre le plus récent est Once Upon a Northern Night, une méditation poétique sur l’hiver. Découvrir plus au

Plus Off the Page
Inscriptions pour les 2013 Prix du magazine canadien (date limite 15 janvier)

Off the Page, with The Feathertale Review editor Brett Popplewell

Off the Page is an interview series that appears regularly on the Magazine Awards blog. Today we catch up with Brett Popplewell, editor of The Feathertale Review, winner of the 2012 National Magazine Award for Best Single Issue.

NMAF: The Feathertale Review has been dubbed the “illegitimate love child of Mad Magazine and The New Yorker.” We just saw your latest issue, no. 11, double in size to 128 pages. Is this a signal to readers that the child is growing up? And if so, where is it headed?

Brett Popplewell: It’s definitely a sign that the child is growing up. Where it’s heading, I have no idea.

Truth is our entire team has grown up since our launch in 2006. We were just kids back then who felt there was an absence of high- and low-brow humour magazines in the Canadian market and thought we could be the cork to plug that hole. Lee Wilson, Feathertale’s co-founder and art director, and I wanted to create something that would feel fresh and cutting edge but that would hark back to an age when magazines leaned entirely on illustration to bring their words to life. We’re the ones who started calling our creation the “illegitimate love child of Mad Magazine and The New Yorker” because it felt like the best way to describe it.

The Feathertale Review, Issue no. 1

The Feathertale Review, issue no. 1

We really started to grow up with our fourth issue (summer 2009). I finally started writing editorials to help nail a raison-d’etre for each issue and we began interviewing interesting people (David Rakoff, Stuart McLean, Patrick deWitt, Lynn Coady, etc.) in the magazine, using those interviews to try to answer some of life’s greatest questions, like: “What does it actually mean to be funny?” All of this added a creative depth to what we were doing.

The Feathertale Review, issue no. 4

The Feathertale Review, issue no. 4

That adolescent stage carried on until our ninth issue (Spring of 2012), which was later named Best Single Issue by the National Magazine Awards Foundation.

By that point Lee and I were both working fulltime with mass-market magazines and had a much better understanding of our industry and Feathertale’s place within it. We began wanting to use Feathertale to challenge what we and others thought a magazine actually was. That’s how we came up with the idea for Feathertale 9. That issue, which looked, read and felt like it was lost in time, was modeled after 250-year-old magazines in order to show readers how far magazines had evolved and changed since their initial creation back in 1731. I think the moment we started thinking about Feathertale on such a bold scale was when it grew up and became more than just the bastard love child of Mad Magazine and The New Yorker.

The Feathertale Review, issue no. 9

The Feathertale Review, issue no. 9, winner of Best Single Issue at the 2012 National Magazine Awards

We didn’t have it in us to make Feathertale 10 as crazy an innovation as its predecessor. So we sought instead to create a “swan song” issue that resembled some of our earlier issues and served to book-end a chapter of our lives.

After Feathertale 10 we had time to reflect on what we’d accomplished and assess what we thought was working and what wasn’t. We had contemplated ending the print product and concentrating on, the online companion to the Review. Our $10 cover price hadn’t been doing us any favours on newsstands and our online readership had always outstripped our printed circulation. But we still believed in producing beautiful printed products and decided to double down on that belief. That’s when we started thinking about making the Review look less like a magazine and more like a book.

From a design standpoint, this made sense. We were starting to publish some much longer stories and Lee felt the long features would read better if we changed the design. So we shrunk the page size from the 8”x10” we’d been using for the first 10 issues to 5”x8”. We then doubled the length of the book to make sure it would still pack the roughly 35,000 words we’d been publishing in our previous issues. In the end, the adjustment made good business sense as well.

The Feathertale Review, issue no. 11

The Feathertale Review, issue no. 11

Feathertale is still a magazine of course, but our current issue (and our next one for that matter) does look a lot more like a book than a mag. I don’t know how that format will serve us on newsstands. We have one of the thicker spines out there right now, and I think we’ve got some pretty appealing covers but we don’t take up nearly as much space on the magazine rack. That said, our subscribers seem to be enjoying the new forma, which is encouraging. It’s also substantially cheaper for us to print the smaller layout and from what we’ve seen at festivals, people are more inclined to pay $10 (or even $15) for the new format. We’re under no pretense of being the first to come out at this size, but so far it makes sense for us.

NMAF: In addition to winning the National Magazine Award for Best Single Issue (for issue no. 9), Feathertale has also won NMAs for Humour and for Best Magazine Cover; remarkable achievements for any magazine, no less a young literary one. What impact have achievements like these made on Feathertale and its writers and artists?

Brett: The accolades have certainly helped us stay motivated, but this has never been a vanity project. Our first win for Best Magazine Cover of 2010 came as a shock, both to us and I think to others in our industry. That cover was really special to us. It was illustrated by a young artist in Oshawa named Dani Crosby. She had just graduated from Sheridan and didn’t have a huge portfolio when we handed her our magazine and told her to do as she pleased with it. There aren’t many magazines that will hand over that kind of opportunity to such a young and relatively inexperienced artist. When we won best cover, we were really just humbled and honoured to be recognized by our peers.

The Feathertale Review, issue no. 6, winner of Best Magazine Cover, 2010 National Magazine Awards

The Feathertale Review, issue no. 6, winner of Best Magazine Cover, 2010 National Magazine Awards

After our first NMA a lot of illustrators and writers who hadn’t really been looking at us started submitting work our way. It definitely helped us grow and added some more established voices to our ever-expanding list of contributors. I guess you could say that award helped us beef up subsequent issues, including Feathertale 9, which won Gold for Best Single Issue last year. I was surprised when we were nominated for that award as well and I was ecstatic when we won. I think what I’m most proud of about that issue is that we pulled it all together on a $7,000 budget. I can’t really explain how it feels to have published and edited a magazine on that kind of budget and then see it nominated alongside magazines that are easily 100 times our size.

Feathertale was probably the smallest magazine nominated for any awards last year, so to win one of the evening’s most prestigious was an unexpected honour, something Cathal Kelly (one of our frequent contributors) touched on when he tweeted that watching Feathertale win that NMA was, financially speaking, “like your home movies winning an Oscar.”

There were 37 contributors in that issue and each of them was integral to its success. I can’t speak for any of them, but I can say that I am extremely proud to have worked with each of them on that issue. I’m equally as proud of Cathal for picking up silver in the Humour category last year. We’ve always said we’re a humour magazine, and Cathal’s award and work helped validate that claim. He’s probably the most naturally gifted writer I’ve had the privilege to work with.

"Feathertale Man rewrites history..." Silver, Humour, 2012 National Magazine Awards

“Feathertale Man rewrites history…” Silver, Humour, 2012 National Magazine Awards

NMAF: You’ve spoken elsewhere about the early success story of Feathertale, where start-up funds from a successful anti-bullying comic-book venture seeded the start of the magazine, and support from Canadian arts funding has helped you grow. What lessons have you learned about publishing a literary magazine in Canada that might benefit other publishers, writers and artists out there?

Brett: The biggest lesson I’ve learned is you have to believe in the value of what you’re doing because you won’t necessarily see any benefit from your labours in your bank account. Canada is such a small market that it’s very hard to make a profit with this type of venture. Financially, Feathertale is subsidized by grant money and sales of Lee’s and my anti-bullying comic books. But aside from that, this whole thing survives on the passion of its creators. That passion comes and goes. There are times when each of us have wanted to run away from Feathertale but the longer we spend working on the project the more we realize that it’s like a child that deserves a shot at growing up and becoming a fully functioning adult. It has definitely grown up and matured, but it’s still not ready to feed itself or change its own diapers.

Publishing, especially in the 21st century, is a very fickle industry. Lee and I wandered into it without any real experience. We had some spectacular success early on with our anti-bullying comic books and have no regrets at having used that success to launch The Feathertale Review. We are fortunate to now have support from both the Canada Council for the Arts and the Ontario Arts Council. I think it’s important for every Canadian to understand that if the Arts councils ever pulled out of funding literary journals in this country the entire industry would likely die, or at least cease to print.

NMAF: Who is D’Artagnan, really?

Brett: He’s the real brains behind this operation. The one who makes all this possible.

Seriously though, he’s the blue monkey who appears on all things Feathertale. We used to think of him as our Alfred E. Newman or Eustace Tilley, but he’s become more than that. He’s our face in this world. What’s his story? Why is he blue? We’ve been asking ourselves those questions for a long time now but still haven’t figured it out.

Brett Popplewell is the editor of The Feathertale Review, as well as a National Magazine Award-winning writer — he won Gold in the category Sports & Recreation at the 2011 National Magazine Awards for “The Team that Disappeared” (Sportsnet). Follow him on Twitter @b_popps.

Images courtesy and National Magazine Awards Foundation.

Submissions are now being accepted for the 2013 National Magazine Awards. Deadline for entries: January 15.

Off the Page, with J.B. MacKinnon

Off the Page appears regularly on the Magazine Awards blog. Today we catch up with writer J.B. MacKinnon, winner of 11 National Magazine Awards and author of The Once and Future World (Random House Canada).

NMAF: In an essay titled “A 10 Percent World” (The Walrus, September 2010), you argued that humanity’s vision of an idyllic past is myopic; that in seeking to temper the impact that we have on our environment, our purpose “is not to demand some return to a pre-human Eden, but rather to expand our options”; that “our sense of what is possible sets limits on our dreams.” What did you mean by expanding our options beyond the limits?

J.B. MacKinnon (photo by A. Smith)

J.B.: “A 10 Percent World” looks at the natural world of the historical past—a much richer and more abundant state of nature than we know today. We’ve largely forgotten this more plentiful world, and that limits our sense of the possible.

Yes, it’s depressing to find out that grizzly bears used to live on the Canadian Prairies and they don’t any more, or that Vancouver waters were home to a year-round population of humpback whales that were all slaughtered by 1908. But if we aren’t aware of these facts, then the absence of the bears and the whales seems normal. When we do become aware of them, we’re able to set a higher bar for our vision of what nature can be.

NMAF: That essay won a National Magazine Award in 2011. What impact did the magazine publication and the award have on your decision to pursue a book project, resulting in your recently published The Once and Future World

J.B.: In this case, a book idea became a magazine story. In 2011, I was already thinking about The Once and Future World, but I needed to explore whether it had the potential I thought it did.

“A 10 Percent World” was that initial foray into the depths. The story had an impact on readers, and when it also won a magazine award I was able to move forward on the book with a lot more confidence.

NMAF: You’ve been a professional writer for more than a decade, with 11 National Magazine Awards (and 31 nominations). What role do Canadian magazines play in your career, and what significance do you put on winning awards?

J.B.: I became a writer during the largely overlooked great recession of the early 1990s, and the limited opportunities of that time made a deep impression on me. Fortunately, a few Canadian editors took a chance on my work, and I’ve been able to build from there. But I’m always trying to sharpen my teeth—to push toward deeper themes or better writing. It doesn’t always work, and I appreciate that Canadian magazines are still giving me chances. They don’t always expect me to show up with all my t’s crossed and i’s already dotted.

Awards are one way to measure whether or not what I’m doing on the page is working—the awards themselves matter less to me than the nominations. Consistent nominations tell me that I’m continuing to do work that is recognizably among the best in the country. Actually taking home a gold or silver is a much less predictable matter. Of course, when it happens, well… it never gets old, let’s say that.

Read "A 10 Percent World" (Gold, Essays, 2010)

Read “A 10 Percent World” (The Walrus, Gold, Essays, 2010)

Read "Becoming an Optimist" (Gold, Science, Technology & Environment, 2008)

Read “Becoming an Optimist” (Explore, Gold, Science, Technology & Environment, 2008)

J.B. MacKinnon is the award-winning author of The Once and Future World, The 100-Mile Diet and Dead Man in Paradise. His writing has appeared in great Canadian magazines including Explore, The Walrus, This Magazine and more. He was the writer for the documentary Bear 71, which explores the intersection of the wired and wild worlds through the true story of a mother grizzly bear. Discover more at

More Off the Page
J.B. MacKinnon in the NMA Archive

Off the Page, with journalist and blogger Julia Belluz

Off the Page appears regularly on the Magazine Awards blog. Today we catch up with Julia Belluz, whose blog–Science-ish–published by Maclean’s, won gold in the inaugural National Magazine Award for Best Blog earlier this year.

NMAF: Tell us a bit about Science-ish, what you consider its publishing niche to be, and who your readers are.

Julia Belluz (Photo: Jessica Darmanin)

Julia: Coffee is good for your health! Coffee is bad for your health! Vitamin D will save your life! Vitamin D will kill you quicker! I created Science-ish in response to bewildering and contradictory claims like these that float around in the popular discourse.

This confusion doesn’t end with individual health choices. Politicians frequently make assertions about health that aren’t necessarily informed by evidence, as do journalists, celebrities, and anyone who thinks they can get away with it.

So the blog is a sane place where readers can learn about the actual science behind the headlines. My readers tend to be doctors, nurses, students, policy wonks, researchers, and anyone who is concerned about health and science.

NMAF: What makes an online media outlet such as Science-ish not only trustworthy but indispensable in a news world where there exists so much information and content?

Julia: As a health reporter, I see a great deal of pseudoscience-based journalism in my field, which does nothing to elevate the discourse about science and instead confounds people. To be sure, science is far from perfect. There are a lot of systemic problems with science—the limitations of peer review, the perverting influence of industry, etc.—but I think the act of going back to primary sources and scientific evidence and seeing if there’s something to glean is a worthwhile exercise.

I want to say that every blog entry is balanced, but I don’t think that’s a good word because I’m always taking a stand after reading and interviewing a lot and thinking about the arguments and counter-arguments that I have encountered. I hope that sets Science-ish apart and resonates with readers.

NMAF: What do you think is the significance of having Science-ish win a National Magazine Award, not only for you as a health and science journalist, but also for the medium of online magazine publishing?

Julia: It’s a great honour to be recognized by peers who work across subjects and venues in journalism. It seems to be increasingly true that readers can expect good writing and reporting in many places—blogs, web pages, etc.—and it’s wonderful that the NMA recognizes that with its new online awards categories.

NMAF: You’re currently a Knight Science Journalism Fellow at MIT. Can you tell us a bit about the program and what you’re working on there?

Julia: The fellowship was designed to be a cultural exchange where journalists could learn more about science, studying alongside future researchers and scientists at MIT, while scientists could learn from visiting journalists. Right now, I’m learning about how science is made, and how it’s applied (or not) in public policy and decision-making. I’m also looking at the forces that shape what science gets done (or not). I hope this will inform my understanding of the interplay between research, policy, and practice, which is very important at a time when we’ve never generated more research, yet in many cases, we’re failing to apply or capitalize on that knowledge.

Julia Belluz is a three-time National Magazine Award-winning journalist. Her profile of the writer Ian Brown, published in the Ryerson Review of Journalism, won her the NMA for Best Student Writer in 2007 and also won a Silver in the profiles category. Science-ish is a joint project of Maclean’s, the Medical Post and the McMaster Health Forum. Follow Julia on Twitter @juliaoftoronto.

Who will win Best Magazine Blog of 2013? Submissions open next week for the 37th annual National Magazine Awards. Deadline: January 15, 2014.

Off the Page
National Magazine Awards archive
Read more about the NMA Blogs category

Off the Page, with Sierra Skye Gemma

Off the Page appears regularly on the Magazine Awards blog. Today we catch up with Sierra Skye Gemma, winner of the 2012 National Magazine Award for Best New Magazine Writer.

[This post has been updated to include the new deadline for the Prism International Creative Non-fiction contest deadline: Dec 5.]

NMAF: Earlier this year you won the National Magazine Award for Best New Magazine Writer for a story called “The Wrong Way” (The New Quarterly), a personal essay and critical meditation on the stages of grief. Tell us a bit about how you developed this story and why you decided to submit it in the annual non-fiction writing competition from TNQ?

Sierra Skye Gemma (Photo: Nadya Kwandibens)

Sierra Skye Gemma (Photo: Nadya Kwandibens)

Sierra: The Wrong Way came out of an assignment in a Creative Non-fiction course with Andreas Schroeder. I had never written a personal essay before and when I started I wasn’t even sure what I wanted to say. Not exactly, anyway. I looked up Kübler-Ross’s Five Stages of Grief because I thought it would explain my experiences. I thought I could structure my essay according to the stages, but I realized that Kübler-Ross’s theory didn’t apply to my life at all. My essay then developed as a sort of antagonistic call-and-response with conventional grief theories.

I sat and wrote it in two sittings, straight through from beginning to end. I didn’t move things around after that and I barely edited it. That said, I had bits and pieces of it already written. Little vignettes that I hadn’t known what to do with before, like the story of buying my son the fish and aquatic frog. I had also taken extensive notes when my sister died and I wrote down lots of dialogue. Maybe that sounds weird; maybe not, if you’re a writer. But what do you do with a short “scene” between siblings that, when read on its own, seems to make light of the death of another sibling? Well, I guess you build an elaborate home in which it can live. The Wrong Way was that home for many of my disjointed experiences with grief.

I submitted the essay to The New Quarterly’s Edna Staebler Personal Essay Contest because Andreas Schroeder told me to submit it to a contest (and not through the slush pile of regular submissions); he thought the essay was good enough to win. The New Quarterly’s personal essay contest seemed like the obvious choice. The lesson here? Always listen to Andreas Schroeder.

Click to read "The Wrong Way" by Sierra Skye Gemma

Click to read “The Wrong Way” by Sierra Skye Gemma

NMAF: What was the significance for you as a young writer winning that contest and then the National Magazine Award?

Sierra: Winning both the contest and the NMA gave me confidence in my writing, which I never really had before. Winning the NMA also got my work noticed. After I won Best New Magazine Writer, the essay was selected to appear in the Best Canadian Essays 2013 anthology, alongside some very successful writers. It is an amazing honour that I feel would not have happened without the National Magazine Awards.

NMAF: As a writer and also an editor of PRISM International, a literary magazine published by the Creative Writing Program at UBC, you are in a good position to survey the landscape of Canadian literary arts. What are the challenges and rewards of devoting yourself to this industry?

Sierra: I think the greatest challenge to being an editor of a literary magazine (or a writer for that matter) is money. There is not a lot of money in literary magazines. Small lit mags live and die by the decisions of the Canada Council for the Arts and the various provincial Arts Councils. They live and die by the seemingly small financial decisions of their staff. They live and die by their contest entries and subscriptions and by the ebb and flow of their donations. Editing and managing a literary magazine is not a career for the lazy or the extravagant. It takes a lot of careful, cautious, and sometimes tedious work to keep a literary magazine alive.

That said, it is so emotionally rewarding.  I have been a reader for the past two Creative Non-fiction Contests at PRISM and I will be a reader again this year. The emotional rollercoaster that this work has taken me on is intense. You feel the author’s highs and lows. I’ve cried and I’ve laughed until I’ve been in tears.

Although I’ve also read for other contests and other magazines, it is PRISM’s Non-fiction Contest that really makes it worth it for me because the stories are real and they matter. They matter to the author, who is risking so much to share; to the readers with whom the stories will resonate; to the editors, who have the responsibility for creating the long list and the short list; and to the contest judge who has to make the toughest decisions.

Our Creative Non-fiction Contest deadline is coming up on November 28th [Update: December 5] and I can’t wait to start reading again!

NMAF: What are your immediate goals as a writer, and what are you working on these days?

Sierra: This summer I received a grant from the Social Science and Humanities Research Council of Canada to perform research for a novel set in 1950’s California. I spent three months in northern California—taking notes, visiting museums and farms, interviewing seniors and experts, and exploring the countryside—so my research is nearly completed.

I’ve been meaning to finish my outline and start writing, but I’ve been a little distracted by another project that I have been working on for over a year: a humorous and irreverent parenting book that I’m co-writing with blogger Emily Wight. We have completed our non-fiction book proposal and one sample chapter, but I’d like to get a few more chapters done before I launch into the novel.

Sierra Skye Gemma is an award-winning writer and journalist working towards an MFA in Creative Writing at the University of British Columbia. Aside from the National Magazine Award for Best New Magazine Writer, this year Sierra was also honoured with the first-place award in creative non-fiction in Rhubarb’s Taboo Literary Contest, a long-list nod in House of Anansi’s Broken Social Scene Story Contest, and a BC Arts Council scholarship. She is an executive editor of PRISM international, western Canada’s oldest literary magazine. Her work has been published in The New Quarterly, The Vancouver Sun, Plenitude, and elsewhere. Follow her on Twitter @SierraGemma.

The National Magazine Award for Best New Magazine Writer
Meet the finalists for Best New Magazine Writer
A Writer’s Guide to Canadian Literary Magazines
Your Guide to Fall 2013 Canadian Magazine Writing Contests
More Off the Page interviews

Off the Page, with Catherine Dubé

Off the Page is an exclusive series produced by the NMAF that reaches out to former National Magazine Award winners to find out what their awards have meant to them and what they’re up to now. Off the Page appears regularly on the Magazine Awards blog. Today we catch up with seven-time National Magazine Award-winning journalist Catherine Dubé, reporter for the French-language current affairs magazine L’actualité.
[Version française]

NMAF: Last year, you won the a Gold National Magazine Award for your article “Demain, des centres à 7 $ par jour pour les vieux?” [Tomorrow, $7-a-day Care Centres for the Elderly?] – your seventh National Magazine Award in the past five years! What prompted you to write this story?

Catherine Dubé (Photo par) Marie-Reine Mattera

Catherine Dubé (Photo par Marie-Reine Mattera)

Catherine DubéThe idea was generated in an editorial meeting at L’actualité. We asked ourselves what we can expect over the next 10 to 20 years. We are all going to need care, after all! And the healthcare system is not prepared to take care of the horde of aging Baby Boomers.

The main challenge of the report was to engage our readers about an issue that may not be very sexy. I did what I always do: illustrate the information with lots of concrete examples. I tried to find innovative solutions, such as the one that inspired the title of the piece.

NMAF: When you write for L’actualité, how do you develop the idea for a new story? Do you draw inspiration from consulting health professionals or other media?

Catherine DubéI examine the current social issues, large and small, exploring for a new angle. Any source might be a good one, whether it is from the media here or abroad, public events such as conferences, or specialized publications. The people I interview often put me onto a new track for a story.

I also try to find information that may have escaped the attention of the daily news media, which is overwhelmed by the constant stream of news.

Last year, when I was working on a profile of the hypnotist Messmer, a popular Quebec artist, I discovered that his approach was quite controversial, and my article became instead an investigation of hypnosis, seeking out what is true and what is false, and highlighting the dangers of this method when it is misused.

The process of researching and writing articles for L’actualité, where I started working two years ago, is quite similar to the process at Québec Science where I worked for ten years. But the angle of attack is different: more scientific for Québec Science, more general for L’actualité.

NMAFWhat is the significance to you of winning a National Magazine Award? And what’s next for you; what topics and issues are currently attracting your interest?

Catherine DubéAn award is the culmination of our efforts and the recognition that we achieved our goal. Nobody picks up a magazine just to find out the news. Newspapers, television and the web provide tough competition for that. But it is up to us, the artisans of magazines, to offer the untold stories, and the new and surprising angles to those stories, which are what make magazines indispensable.

Writing is also a key element: it must be clear and polished. If the reader enjoys the story as much as if reading a novel, then the job is done. It’s a challenge every time. My ultimate goal is to articulate complex and often abstract issues. I must find the human stories through which these issues are embodied, and then tell them skillfully. Even after all these years, it doesn’t get easier. But the difference is that I’ve been able to do it better!

This month I have a long feature about the world of justice, which will be published as a mini-book insert in the magazine. This is a new format that we started offering our readers last year and it’s been a great success.

Catherine Dubé is a journalist with the magazine L’actualité. This year she is nominated for 3 National Magazine Awards. Special thanks to Avary Lovell for the interview with Catherine.
[Version française]

From the NMA Archives, by Catherine Dubé:
Demain, des centres à 7$ par jour pour les vieux? (Prix d’or, Santé et famille, 2011)
Marmot 2.0 (Prix d’or, Société, 2010)
1,2,3…bébés? (Prix d’argent, 2010, Santé et médécine)
Vive le mangeur libre (Prix d’or, Mode de vie, 2009)
Grippe A(H1N1) – Tout savoir (Prix d’argent, 2009, Santé et famille)
Des synapses et des lettres (Prix d’argent, Société, 2008)
Péril à la ferme (Prix d’argent, Article hors categorie, 2007)

More Off the Page, with:
Ian Willms
Pascale Millot
Curtis Gillespie
The Coveteur
Heather O’Neill
Selena Wong
Patrick Walsh
Jillian Tamaki
Roger LeMoyne
Joshua Knelman
Jonathan Trudel
Alex Leslie
Jeremy Klaszus
Carol Shaben
Roxanna Bikadoroff

Off the Page, avec Catherine Dubé

La série Off the Page est une exclusivité produite par la Fondation nationale du prix du magazine canadien (FNPMC) et qui offre aux anciens lauréats de Prix du magazine canadien une tribune où ils sont invités à exprimer ce que leur prix a signifié pour eux et à nous dire où ils en sont aujourd’hui dans leur carrière. La série Off the Page paraîtra périodiquement dans notre blogue. Cette semaine, nous découvrons quoi de neuf avec Catherine Dubé, rédactrice du magazine L’actualité.
[The English version of this interview will be published tomorrow.]


FNPMC : L’année dernière, vous avez remporté le Prix d’or dans la catégorie Service : Santé et famille, pour votre article « Demain, des centres à 7 $ par jour pour les vieux? », votre septième Prix du magazine canadien au cours des cinq dernières années! Qu’est-ce qui vous a incité à rédiger cet article?

Catherine Dubé (Photo par) Marie-Reine Mattera

Catherine Dubé (Photo: Marie-Reine Mattera)

Catherine DubéCette idée est issue d’une réunion de rédaction de L’actualité. Nous nous sommes demandé ce qui nous attend d’ici 10 à 20 ans : nous sommes tous des aidants naturels en sursis ! Le système de santé n’est pas préparé à prendre soin de la cohorte vieillissante des baby-boomers.

Le principal défi de ce reportage consistait à intéresser les lecteurs à ce sujet a priori pas très sexy…

J’ai fait ce que je fais toujours : illustrer l’information par de nombreux exemples concrets. Je me suis efforcée de trouver des solutions novatrices, comme les haltes répit qui ont inspiré le titre du reportage.

FNPMC : Lorsque vous écrivez pour L’actualité, quel processus suivez-vous pour puiser les idées de votre nouvel article? Trouvez-vous votre inspiration en consultant des professionnels de la santé, des études, d’autres médias, ou d’autres sources?

123bebeCatherine Dubé : J’explore les petits et grands sujets de société qui sont dans l’air du temps, à la recherche d’un angle neuf. Toutes les sources sont bonnes, qu’ils s’agissent de médias d’ici ou de l’étranger, d’événements publics comme des conférences, ou encore de publications spécialisées. Les personnes que j’interviewe me mettent souvent sur des pistes inédites.

Je trouve ainsi des informations très intéressantes qui ont échappé au regard des journalistes de quotidiens, submergés par le flot continu des nouvelles.

L’an dernier, alors que je devais faire le portrait de l’hypnotiseur Messmer, un artiste populaire au Québec, j’ai découvert que son approche faisait l’objet d’une controverse; cet article est en quelque sorte devenu une enquête sur l’hypnose, faisant la part des choses entre le vrai et le faux, et mettant en lumière les dangers de la technique lorsqu’elle est mal utilisée.

Le processus de recherche et de rédaction que j’utilise pour mes articles publiés dans L’actualité, où j’ai été embauchée il y a deux ans, est assez semblable à celui que j’utilisais à Québec Science, où j’ai travaillé les dix années précédentes. C’est l’angle d’attaque qui est différent : plus scientifique pour Québec Science, plus social et grand public pour L’actualité.

FNPMC Quelle importance attribuez-vous au fait de remporter un Prix du magazine canadien? Et que pouvons-nous entrevoir pour l’avenir : quels sujets et enjeux suscitent actuellement votre intérêt?

Catherine Dubé : Un prix est le couronnement de nos efforts, la reconnaissance qu’on a atteint notre objectif.

Personne ne se sent obligé de lire un magazine pour être au courant de l’actualité. Les journaux, la télévision et les nouvelles en continu sur le Web nous livrent une rude compétition. C’est à nous, artisans des magazines, de proposer des histoires inédites, des angles nouveaux et surprenants pour nous rendre indispensables aux yeux du grand public.

L’écriture est aussi une clé : elle doit être soignée et fluide. Si le lecteur a autant de plaisir à me lire que s’il lisait un roman, le pari est gagné. C’est toujours un défi, car mon but ultime est d’expliquer des enjeux complexes et souvent abstraits. Je dois trouver les histoires humaines à travers lesquels ces enjeux s’incarnent et les raconter habilement. Même après toutes ces années, ce n’est pas plus facile qu’avant… La différence, c’est que je le fais mieux !

Je publierai dans quelques semaines un très long reportage sur le monde de la justice. Le résultat sera publié sous forme de mini-livre, encarté dans le magazine, un nouveau format que nous proposons aux lecteurs depuis l’an dernier et qui connaît un beau succès.

Catherine Dubé est journaliste au magazine L’actualité. Elle est nominée pour 3 Prix du magazine canadien cette année. Un merci tout spécial à Avary Lovell pour l’interview avec Catherine.
[The English version of this interview will be published tomorrow on the Magazine Awards blog.]

De nos archives, par Catherine Dubé :
Demain, des centres à 7$ par jour pour les vieux? (Prix d’or, Santé et famille, 2011)
Marmot 2.0 (Prix d’or, Société, 2010)
1,2,3…bébés? (Prix d’argent, 2010, Santé et médécine)
Vive le mangeur libre (Prix d’or, Mode de vie, 2009)
Grippe A(H1N1) – Tout savoir (Prix d’argent, 2009, Santé et famille)
Des synapses et des lettres (Prix d’argent, Société, 2008)
Péril à la ferme (Prix d’argent, Article hors categorie, 2007)

Off the Page, avec :
Pascale Millot
Jonathan Trudel

Off the Page, with photographer Ian Willms

Off the Page is an exclusive series produced by the NMAF that reaches out to former National Magazine Award winners to find out what their awards have meant to them and what they’re up to now. As we prepare for this year’s NMA bash, we catch up with National Magazine Award-winning photographer Ian Willms.

NMAF: Last year you won the Gold National Magazine Award for Photojournalism & Photo Essay for “In the Shadow of the Oilsands” published in This Magazine. How has winning this award helped you expand your career?

Ian Willms (Tintype by Marek Warunkiewicz)

Ian Willms: The NMA is a big award and I’m extremely grateful to have won it. I’m sure it has done quite a bit to promote my work and lift my profile as a documentary photographer. Above all else, I’m happy that this award brought the story to more viewers.

NMAF: What advice, either professional or artistic, would you give to current and future Photojournalism & Photo Essay NMA candidates? 

Ian Willms: Stay true to the vision that you have for your work. It’s so easy to lose that in the editorial realm. Take the time necessary to do the work that matters to you, in the way that you believe it needs to be done; even if it’s not profitable.

“In the Shadow of the Oilsands” by Ian Willms, This Magazine (Mar/Apr 2011)

NMAF: Since winning the NMAF Gold award, what photography projects have you completed?

Ian Willms: I’ve been working on a photo essay that explores the religious oppression of Mennonites in Europe and Russia during the 16th-20th centuries. The work is called “Why We Walk” and can be seen at

Ian Willms is a freelance photographer based in Toronto. You can view his work at His work has been exhibited extensively in Canada and around the world, and he’s currently a member of the Boreal Collective and Reportage by Getty Images Emerging Talent.

Special thanks to Jordanna Tennebaum for the interview with Ian. Tomorrow on the Magazine Awards blog we’ll throw the spotlight on this year’s finalists for Photojournalism & Photo Essay.

Off the Page, avec Pascale Millot

La nouvelle série Off the Page est une exclusivité produite par la Fondation nationale du prix du magazine canadien (FNPMC) et qui offre aux anciens lauréats de Prix du magazine canadien une tribune où ils sont invités à exprimer ce que leur prix a signifié pour eux et à nous dire où ils en sont aujourd’hui dans leur carrière. La série « Off the Page » paraîtra périodiquement dans notre blogue à l’automne 2012. Cette semaine, nous découvrons quoi de neuf avec Pascale Millot, rédactrice en chef adjointe du magazine Québec Science.

FNPMC: Au cours de son histoire, Québec Science a remporté 24 Prix du magazine canadien dont 13 au cours des 7 dernières années, notamment dans des catégories telles que Santé et médecine, Société, Dossiers thématiques et Science, technologie et environnement. Quelle est l’importance pour vous, comme rédactrice en chef adjointe, de voir votre équipe reconnue pour son travail? Et, selon vous, ce succès a-t-il un impact sur vos lecteurs?

Pascale Millot (Photo par Christian Fleury)

Pascale Millot: À la rédaction de Québec Science, nous sommes toujours fiers et heureux de voir le travail de nos journalistes reconnu par des prix aussi prestigieux que ceux de la Fondation des magazines canadiens. D’une part, parce que ces prix soulignent le talent de nos collaborateurs.

Ensuite, ces prix montrent la rigueur et l’originalité du travail qui est fait à Québec Science depuis des années. Vous savez, derrière un reportage se cache un important travail d’équipe.

Bien sûr, le plus grand mérite revient au journaliste qui l’écrit, mais le choix du sujet, la révision, le choix des titres et surtout l’encadrement pendant la recherche et la rédaction sont aussi d’une importance capitale et font souvent la différence entre un reportage «publiable» et une œuvre remarquable.

Quant à nos lecteurs, ils sont toujours impressionnés de voir notre récolte de prix. Je crois que cela renforce notre crédibilité.

FNPMC: L’année dernière, vous avez également remporté un Prix du magazine canadien pour votre article « Quand je serai plus là, qui va s’occuper de mes poissons? ». Ce reportage racontait l’histoire d’enfants qui souffrent de maladies mortelles et traitait de la réalité des soins palliatifs pour les jeunes, au Canada. Comment avez-vous été informée de ce dossier et pourquoi avez-vous décidé de faire enquête à ce sujet?

Pascale Millot: J’aime à répéter que, si j’avais eu plus d’audace et pas d’enfants, j’aurais fait du reportage en zone de guerre. Je pense en effet que les journalistes ont la responsabilité de nous faire découvrir des réalités peu connues et extrêmes.

Je ne fais pas de reportage en zone de conflit, mais je m’efforce tout de même de traiter de sujets extrêmes où des hommes et des femmes sont poussés au bout de leurs limites. C’est le genre de sujets qui me passionne et dont j’ai besoin pour garder mon intérêt dans ce métier.

Parler des enfants qui vont mourir, du don d’organes, de la torture, du suicide, de la maladie mentale et de toutes ces situations où l’être humain est poussé au bout de lui-même est ma manière à moi de faire du reportage extrême. En ce qui concerne ce sujet précis des soins palliatifs pédiatriques, j’ai été frappée de constater à quel point la mort, et particulièrement la mort des enfants, est taboue dans notre société.

D’ailleurs, beaucoup de gens autour de moi ne comprenaient pas pourquoi je me penchais sur un tel sujet, comme si c’était trop triste pour en parler. Mais c’est justement pour cela qu’il faut en parler.

FNPMC: Cette année, Québec Science célèbre son 50e anniversaire. Qu’avez-vous fait pour souligner cet anniversaire et quels sont les objectifs futurs du magazine?

Pascale Millot: C’est un gros anniversaire! 50 ans pour un magazine au Québec, c’est une incroyable longévité. D’autant plus qu’il s’agit du seul magazine de science destiné au grand public au Canada.

Pour souligner cette grande année, nous avons produit un numéro spécial qui présente les 50 grands défis de la recherche scientifique. Notre rédacteur en chef, Raymond Lemieux, a également publié un livre, Il était une fois Québec Science (Éditions MultiMondes), qui raconte l’histoire du magazine, mais aussi de la culture scientifique au Québec. Nous avons aussi repensé complètement notre site Internet et nous avons (enfin!) rendu nos archives accessibles en ligne.

Nos objectifs futurs? Produire de l’information sous forme numérique, mais aussi et surtout continuer à produire des reportages de fond, bien écrits, à même d’informer et de captiver un public non spécialiste. Il est de plus en plus difficile de produire de l’information de qualité, de fouiller des sujets, de prendre le temps de comprendre les différentes facettes d’un dossier.

Le reportage magazine demande du talent, mais aussi du temps et de la rigueur, des valeurs qui sont malheureusement de moins en moins dans l’air du temps.

FNPMC: Merci Pascale!

Découvrir plus à Lire la suite des gagnants du magazine Québec Science dans nos archives.

Prix d’Or, catégorie Société, 2010

Prix d’Or, catégorie Science, technologie et environnement, 2010

Prix d’Argent, catégories Santé et Médecine, et Science, technologie et environnement, 2009

Off the Page, with Eighteen Bridges editor Curtis Gillespie

Off the Page is an exclusive series produced by the NMAF that reaches out to former National Magazine Award winners to find out what their awards have meant to them and what they’re up to now. Off the Page will appear each Thursday on the Magazine Awards blog during the fall of 2012. This week we catch up with three-time National Magazine Award-winning writer Curtis Gillespie, editor of the new magazine Eighteen Bridges.

NMAF: Some might call it a bold venture: launching a publication of narrative non-fiction journalism—a magazine of big ideas—in an age when long-form is seemingly subsumed by Internet media and niche publishing. Perhaps that’s a misconception. As an editor and an award-winning long-form writer, what were your founding objectives for Eighteen Bridges; what did the magazine seek to achieve that wasn’t already on the landscape?

Curtis Gillespie: The founding objectives of Eighteen Bridges were very simple: marry sound research with compelling narrative. We wanted to offer a home for great writers who can also do trustworthy research.

Long form is more important than ever, because context is more important than ever. We’re awash in information, but lacking in depth and background, and that’s precisely why the long-form narrative journalism format is, I believe, essential.

This kind of in-depth journalism is expensive, and so most outlets are shying away from it. Digital-age, quick-hit, small-dose journalism is fine, but it needs to be supported by genuine investigative journalism that offers trustworthy and thorough research (to further our insight) along with genuine writing talent (to keep us reading!).

We didn’t see this style on the Canadian landscape. The Walrus is a great magazine, but doesn’t necessarily focus on narrative. Maclean’s is newsy. Brick is arts and culture. All are good magazines and serve their readers well.

The point of doing something like Eighteen Bridges is to create an immersive experience for readers, so that they’re enjoying a story but also gaining context.

Eighteen Bridges, issue #1, Spring 2011

NMAFOne of the pledges Eighteen Bridges makes to the Canadian readership is that it will “initiate vibrant debate.” What has informed this perspective that we’re in need of enhanced public debate in this country, and what is the role of narrative journalism in fostering such discourse that is unique among the myriad forms of Canadian media.

Eighteen Bridges, issue #2, Winter 2011

Curtis Gillespie: The “narrative” aspect is crucial. It’s our base camp, in a way. We believe in story telling as the perfect conduit for in-depth journalism, because we believe a magazine article should be both enlightening and entertaining, and that the two are not mutually exclusive. But this takes talent, hard work, and a clear editorial mandate.

Too often, newspapers and television provide facts, but no context. We learn the issues, but not the subtleties behind the issues. We don’t get to know the personalities in their complexity.

You can’t really have a vibrant debate without feeling well informed. Otherwise, conversations, arguments, debates and discussions are simply an exchange of opinion.

Our goal (if we can ever reach anything like the level of cultural penetration of a major media source) is to offer enough background and context to allow for vigorous discussions based on good research and compelling stories, rather than sound bites and quick hits.

If we can take the principles of narrative (characterization, dramatic arc, psychological and emotional inquiry, and so on) and use those to convey the stories that are shaping our world, then we’ll be creating journalism that people enjoy and value.

NMAFAmong the early measures of success for Eighteen Bridges are the ten National Magazine Awards nominations and 2 wins—Gold for Don Gillmor’s “All In” and Silver for Alissa York’s “Class Mammalia”—that came from just your first two issues from 2011. Was this a key step in the realization of your vision for the magazine, and what have the awards meant to the magazine and its future?

Eighteen Bridges, issue #3, Spring 2012

Curtis Gillespie: I can’t honestly say it was a key step in the realization for our vision for the magazine, since it would be unwise to ever plan on winning awards!

Having said that, we did feel that if we were lucky enough to get noticed at the National Magazine Awards in our first year of eligibility it would help us spread the word of what we are about and who we are trying to reach.

The NMAs mean a great deal to people in the magazine industry and to writers in general; they indicate what is working at a high level and signal to the country what might be worth paying attention to.

We were stunned and delighted to get 10 nominations and two wins in our first crack at it, partly because it means people might notice our magazine and what we’re trying to do with it; that we take issues that matter and create great stories about them. But more because it was recognition for some outstanding writing.

Don and Alissa were rightly recognized, but it also drew attention to many other fine writers.

We think it also showed, in some ways, that our rationale for creating the magazine wasn’t completely without merit!

Curtis Gillespie won 3 National Magazine Awards for his writing in Saturday Night magazine, and has been nominated for a total of 14 NMAs since 1999. He has also served as a judge for the NMAs. Eighteen Bridges was nominated for 10 NMAs last year, and won Silver in Travel (Alissa York, “Class Mammalia“) and Gold in Arts & Entertainment (Don Gillmor, “All In“; featured in the new NMA eBook). Discover more at

Off the Page, with The Coveteur

Off the Page is an exclusive series produced by the NMAF that reaches out to former National Magazine Award winners to find out what their awards have meant to them and what they’re up to now. Off the Page will appear each Thursday on the Magazine Awards blog during the fall of 2012. This week we catch up with the 2011 winners of Best New Visual Creator: The Coveteur. The Coveteur are designer Erin Kleinberg, stylist Stephanie Mark and photographer Jake Rosenberg. 

NMAFAt this year’s National Magazine Awards The Coveteur was named Canada’s Best New Visual Creator for your spread “Strictly Top Shelf” in Report on Business magazine. First of all, what is The Coveteur, and where does it make the biggest impact on the world of fashion and style?

The Coveteur: Erin Kleinberg, Jake Rosenberg and Stephanie Mark

The Coveteur: The Coveteur takes you into the closets of today’s celebrities and fashion icons so you can discover their unique style. Our site features exclusive photography and videos and provides a behind the scenes community for fashion lovers. Our followers can collect and share their favorite images in their own “closet” and then shop the look of Coveteurs from around the globe—from New York to Paris, London and beyond.

We make an impact by redefining the way people shop and the way they view the still-life by showcasing the styles of today’s tastemakers in a new light that is also shoppable.

NMAF: How did you get involved with Report on Business, and how did you develop your winning piece—which the judges lauded for “magnifying the desirability of objects”; “a perfect balance of style and composition”—for the magazine?

The Coveteur: We are loyal readers of Report on Business and we were thrilled and honoured when they approached us to contribute. We created a holiday gift guide in signature Coveteur fashion and arranged the products in such a way that brings them to life and makes each one appear as a character in an environment.

Our community enjoys the quirk of an image—a stuffed monkey wearing a pair of designer glasses styled amongst other great products—as it highlights the product when showcased in an unexpected, eccentric way. Keeping the sophisticated Report on Business reader in mind, we chose exceptional, high-end products for the feature.

National Magazine Award-winning layout from The Coveteur, in Report on Business magazine

NMAF: Your online “curations” (coveteurs) seem to borrow a bit from traditional fashion magazine layouts while also being remarkably innovative in tapping the power of social media, digital publishing and e-commerce. What have been some of your influences from the world of magazines—fashion, style, design, etc—while developing this unique approach to exhibition?

The Coveteur: We have all had individual and unique experiences working in these different yet connected areas. Erin worked for W Magazine alongside director Alex White who taught her to push stylistic boundaries, which catches the reader off-guard and calls for a second glance. She recalls a photo shoot with model Doutzen Kroes staged in a field and littered with teddy bears—a consistent quirkiness that has remained an integral part of her styling since.

Stephanie, who went to Parsons [School for Design] for fashion marketing and interned with Kate Lanphear at Elle Magazine, has a keen eye for picking great product from across the globe and is our in-house e-commerce wiz.

Jake’s visual inspiration comes from the work of Ben Watts and his vivid editorial imagery as well as Raymond Meier’s ability to bring product to life through editing. His photography is bright, vivid and intimate, adding a certain “glow” which tells a unique story about each subject and their personal style.

The Coveteur have profiled dozens of styles, including that of Miss Piggy!

NMAF: Do you have any other current or upcoming projects in magazines to tell us about? 

The Coveteur: We just shot an exclusive, eight-page spread for the October/November 2012 issue of Air France Madame magazine filled with the best accessories of the season and shot in our distinct stylistic approach. As for what else is coming up? You’ll just have to stay tuned!

Check out all of fantastic curations of Stephanie, Erin and Jake at

Off the Page, with Heather O’Neill

Off the Page is an exclusive series produced by the NMAF that reaches out to former National Magazine Award winners to find out what their awards have meant to them and what they’re up to now. Off the Page will appear each Thursday on the Magazine Awards blog during the fall of 2012. This week we catch up with National Magazine Award-winning writer Heather O’Neill.

NMAF: Two years running you’ve won the Gold National Magazine Award for Best Short Feature—“The First Time She Ran Away” (Elle Canada) and “When Your Mother is a Stranger” (Chatelaine)—both of which could be described as memoirs of adolescence. Indeed, one might reasonably infer from your body of work that you’re especially passionate about that stage of life. What do you find particularly special (or challenging) about connecting with your audience through the short, episodic memoir?

Heather O’Neill: The challenge of the short memoir is having such little space to tell a story in. You end up having to make every sentence contain a strong idea. There’s no room for any superfluous thoughts or tangents. It’s like the short program in figure skating championships. I do like the power of that form. I work in it a lot. There seems to be a lot of demand for it anyways in magazines and newspapers.

A short memoir piece is like a very powerful photograph: it’s a short snapshot from my life that is supposed to invoke an entire world.

NMAF: Your acclaimed debut novel Lullabies for Little Criminals began life as a short story in Toronto Life magazine in 2003, since which time you’ve been published frequently in many Canadian periodicals. What is the significance for you, as a young writer, of working in magazines and ultimately winning a National Magazine Award?

Heather O’Neill: I remember when the story was accepted in Toronto Life. I received a mass email from Anita Chong at McClelland and Stewart saying that Toronto Life magazine was looking for stories for its summer issue. I stuck mine in an envelope, wrote the address of the magazine on the front, kissed it and dropped it in the mailbox. It was such a big day for me when they accepted it!

I got a lot of great feedback and everyone at the magazine was effusive and full of praise. It was very validating and it really encouraged me to continue the novel. Or it certainly put a skip in my step as I was finishing the rest of it: knowing that people had taken a peek at it and had approved.  The editor, Sarah Fulford, gave me a lot of feedback and edits on how to make the story stronger, and I applied her ideas to the rest of the novel.

Publishing in Canadian magazines was absolutely indispensible to me. I had to work like a fiend to get in them. Their standards are high. It’s a way to polish your craft and see what is working in your writing and what isn’t. It’s also a way to get the attention of publishers and agents. I sent a copy of that magazine around to different agents. It was like dressing up my story in a tuxedo. It got the attention of an agent though.

I’ve since published frequently in Canadian periodicals. It’s helped me to create a unique voice and develop as a writer. It allows me to write in different forms. I love writing essays and magazines have been the primary home for them. And, depending on the magazine, it gives you new and varied sorts of audiences. It was fabulous fun winning the prize for short essay two years in a row!

NMAF: In addition to your novel and magazine work, you’re also a poet, playwright and radio journalist. What are you working on these days? 

Heather O’Neill: I’m just finishing up my new novel, called The Girl Who Was Saturday Night [forthcoming from FSG/HarperCollins]. I’ve also finished a collection of short stories that will be coming out shortly afterwards.

Heather O’Neill is a two-time National Magazine Award-winning writer whose work has appeared in Toronto Life, Chatelaine, Elle Canada and other magazines. Her award-winning debut novel Lullabies for Little Criminals (HarperCollins) was an international bestseller. She recently published And They Danced By the Light of the Moon, an ePub eBook from The Walrus and Coach House BooksOne of this blogger’s favourite pieces by Heather O’Neill is “How to Date a Writer” (from CBC Canada Writes).

Off the Page, with Selena Wong

Off the Page is an exclusive series produced by the NMAF that reaches out to former National Magazine Award winners to find out what their awards have meant to them and what they’re up to now. Off the Page will appear each Thursday on the Magazine Awards blog during the fall of 2012. This week we catch up with National Magazine Award-winning illustrator Selena Wong.

NMAFBack in 2009 you graduated from the Ontario College of Art & Design and your work appeared in, among other places, The Walrus and was later nominated for a National Magazine Award. How did you get started illustrating for magazines, and how did your work grab the attention of The Walrus?

Selena Wong. (Photo by Eugenia Wong.)

Selena Wong: The first illustration that started it all was a piece done for PlanSponsor magazine with Art Director SooJin Buzelli. I had a chance to meet SooJin during a semester of study at the Rhode Island School of Design through OCAD’s mobility/exchange program.

As for The Walrus, I applied for an art internship with the magazine in 2009, and through the interview process I met the art director Brian Morgan and the senior designer Paul Kim. Since I majored in illustration at the Ontario Collage of Art & Design, the portfolio I brought with me was full of illustrations from my fourth-year thesis.

I had no samples of any graphic design/layout work so I wasn’t an ideal candidate at the time, but was later so fortunately offered to do an editorial illustration for the magazine.

“The True Sorrows of Calamity Jane” (The Walrus; July/August 2009); Illustration by Selena Wong

NMAFAt this year’s National Magazine Awards gala you won the Gold award for illustration (“Meet You at the Door”). This piece seems exemplary of much of your body of work: fantastical, dream-like, full of wonder.  In composing a piece like this, to what extent does the text or the author or the art director guide you, and to what extent are you guided by your own style and instinct?

Selena Wong: I really enjoyed illustrating Lawrence Hill’s story and not to mention had a blast at the NMA gala. For this particular project, I worked with Paul Kim, the senior designer at The Walrus, who introduced Hill’s story accompanied by a few proposed key imageries.

With Paul’s suggestions in mind, I highlighted words and phrases that I thought represented the climax of the story after reading it through several times. From that point on, I created two or three sketches based on those highlighted moments I had set aside.  I then sent the sketches to Paul while secretly hoping that he would pick the sketch I yearned most to develop.

Luckily, what Paul thought worked best for the story and the audience of The Walrus was a piece that was meant to capture the most dreamy atmosphere of one specific setting. It was a description of the beautiful starry sky that tried to divert the gaze from the most important job in life in the vast Canadian Prairies.

The approach I used for this illustration is one that I learned and exercised throughout my training in illustration at OCAD. I appropriate the same practice to all of my work. Through illustrating, I aim to determine the part in a piece of writing where the author opens up to the reader. Sometimes this moment is not the most meaningful and significant one, yet it captures the essence of the story. I believe that it enables me to involve and evoke the deeper emotions in the audience.

“Meet You at the Door” (The Walrus; Jan/Feb 2011); Illustration by Selena Wong

NMAFWhat impact does winning a National Magazine Award have on a young artist, professionally or personally?

Selena Wong: As a young artist, it is a great honour to be recognized nationally, which in turn provides many assurances of support for my career. I was thrilled to be nominated for a National Magazine Award in 2009 even though I only received a honourable mention. That is why I was very surprised to learn that I was given a rare second chance and nominated for a NMA a second time with The Walrus!

Even with greater astonishment, this time I was called up on stage to receive the Gold award. An award not only provides charming publicity but it raises the standards in my work and, therefore, produces a wonderful opportunity to surpass my previous accomplishments.

Selena Wong is a National Magazine Award-winning illustrator and graduate of the Ontario College of Art & Design. Her exhibit “Black Math” is on at the Steam Whistle Brewery in Toronto until the end of October. You can view her work at and

Off the Page, with Outdoor Canada editor Patrick Walsh

Off the Page (back after a summer hiatus) is an exclusive series produced by the NMAF that reaches out to former National Magazine Award winners to find out what their awards have meant to them and what they’re up to now. Off the Page will appear each Thursday on the Magazine Awards blog during the fall of 2012. This week we catch up with National Magazine Award-winning editor Patrick Walsh of Outdoor Canada magazine.

NMAF: In the last 10 years, Outdoor Canada has been nominated for 52 National Magazine Awards—and won 11—with particular success in the categories that reward the packaging of collaborative editorial content to instruct, inform and stimulate your readers. Okay, so what’s the secret to a successful editorial package?

Patrick Walsh:  Pacing. We strive to create an editorial package that contains an even, thematically linked mix of quick, snappy items, short articles and longer features. And within that mix, we’ll include info-packed service and how-to pieces, as well as engaging narratives.

You don’t want the package to be too weighed down with just one element. The same applies to the visuals—we want a good mix of graphics, illustrations and photography.

The key is to evenly distribute all these disparate elements throughout the package, such that the reader enjoys a seamless, entertaining reading experience. It’s like designing and assembling a puzzle—it will all fall together properly if you’ve planned ahead, visualized the end product, and created all the right pieces.

NMAF: What is the significance for you, as an editor, to win a National Magazine Award and see your staff, freelance writers and photographers recognized for their work? And what does this success convey to your readers?

Patrick Walsh: I don’t want to overstate the significance of such recognition, as some might argue that true success should be gauged by the likes of subscription renewals, newsstand sales and advertisement insertion orders.

However, it is immensely gratifying, on a professional level, when our team and contributors earn a National Magazine Award, or simply garner a nomination for that matter. It’s yet another measurement of how well we are serving our audience, based on the criteria for magazine excellence as determined by our industry peers.

We are not creating the best content possible to win awards, mind you—we’re doing it for our readers, and I like to think they appreciate that.

NMAF: Which is more challenging: Editing a successful hunting and fishing magazine, or reeling in a seven-foot, seven-inch sturgeon in the Fraser River? And what does one teach you about the other?

Patrick Walsh: After I beached that 250-pound sturgeon, I thought, Well, I’ll never do that again. I have a bad back, you see, and by the time the 26-minute fight was over, my lower back was on fire. But actually catching it wasn’t a huge challenge.

It’s a crapshoot, really. My fishing buddy and I simply took turns grabbing the first rod that got a hit, and with this particular fish, it just happened to be my turn to set the hook. Then all you have to do is keep tension on the barbless hook and hang on, reeling in line when you get the chance. The credit really goes to our guide, who put us on the fish in the first place.

But when it comes to editing a magazine, it’s all up to you, and your team, to get the job done—from start to finish. That’s decidedly far more challenging. If there’s a shared lesson to be learned from either pursuit, it’s to be persistent and do your best. Then, success will eventually come your way.

NMAF: Thanks Patrick! Keep up the good work.

Check out some samples of Outdoor Canada‘s National Magazine Award-winning work:
75 Whitetail Essentials” (Silver, How-To, 2011)
The Ultimate Danger Guide” (HM, Editorial Package, 2010)
Visit. Hunt. Stay.” (HM, Single Service Article Package, 2010)
Ultimate Skills Guide” (Gold, How-To, 2009)
The Best of Living off the Land” (Gold, Service: Lifestyle, 2008)

Off the Page, with Jillian Tamaki

Off the Page is an exclusive new series produced by the NMAF that reaches out to former National Magazine Award winners to find out what their awards have meant to them and what they’re up to now. Off the Page will appear regularly on the NMA blog during the winter and spring of 2012. This week we catch up with National Magazine Award-winning illustrator Jillian Tamaki.

NMAF: You won your first National Magazine Award for illustration in The Walrus in 2005, barely two years after graduating from the Alberta College of Art & Design. How did you get started illustrating for magazines, and what was your experience winning a NMA so early in your career?

Jillian: When I graduated from ACAD, I felt quite natural illustrating for newspapers and magazines because that was definitely the focus of my illustration training. When I graduated in 2003, the Visual Communications program was perhaps more rigid and less diversified than it is now.

I think back to Rick Sealock’s class and it was basically one editorial project after another—with perhaps a few book projects thrown in—which was a fantastic way of honing your conceptual skills. It’s incredibly advantageous to be able to do editorial work when you’re starting out, because it’s one facet of the industry that regularly takes chances on new talent.

The National Magazine Award was a vote of confidence that I was in the right line of work. We all need a thumbs-up from the world sometimes, as we toil away in the studio.

NMAF: After that your career blossomed in magazines both in Canada and the US. You won another National Magazine Award in 2007, for a series of evocative illustrations in More magazine accompanying a feature article (“A tale of two sisters“) by renowned memoirists Joyce and Rona Maynard. That piece has the feel of the visual and written elements of a magazine story working in perfect harmony. What was the process of creating those illustrations, and would you say that was typical of your creative practice working with magazines?

"A tale of two sisters" (More magazine, Sept 2007); Illustration by Jillian Tamaki

Jillian: I approach all assignments the same way. I try to commune with the source material and let it guide me, whether that be a book, article, piece of music, or whatever. I often count my blessings that my schooling at ACAD was half graphic design, because I actually believe my conceptual process is very design-influenced. I use a lot of words and try to think about metaphors and word associations or even just tune into the atmosphere (physical or emotional) of the content—always keeping in mind the client and their audience, of course.

NMAF: Your 2008 graphic novel SKIM was the first of the genre ever to be nominated for the Governor General’s Award (in the Children’s Literature category). Tell us a bit about that project on which you collaborated with your cousin Mariko Tamaki. And what are you working on these days?

SKIM started off as a very small project instigated by Emily Pohl-Weary’s Kiss Machine zine in Toronto. Mariko and I both wanted to try a small comic project (we had never worked together before) and it was perfectly bite-sized: a 24-page story that was to be bound as a small floppy. It’s since been expanded to a 144-page book (published by Groundwood Books) and translated into six languages, I believe. Mariko and I are working on a new book together, entitled Awago Beach Babies, set in Muskoka; I’d say it’s about summer mythologies. Other than that, I teach at the School of Visual Arts here in NYC and occasionally toss up a comic on my very silly webcomic, SuperMutant Magic Academy.

Jillian Tamaki is an award-winning Canadian illustrator. Her website is, where you can view her portfolio and order prints of her work.

Off the Page, with Roger LeMoyne

Off the Page is an exclusive new series produced by the NMAF that reaches out to former National Magazine Award winners to find out what their awards have meant to them and what they’re up to now. Off the Page will appear regularly on the NMA blog during the winter and spring of 2012. This week we catch up with National Magazine Award-winning photographer Roger LeMoyne.

NMAF: In 2008 Maisonneuve published your photo essay, “Serbia, the Sad South,” which ultimately won you your first Gold National Magazine Award. You’d spent time in the Balkans early in your career and for this assignment you went back to document your experiences in Serbia a decade or more after the Balkan wars. How did you make that return journey happen, and how did it get the attention of Maisonneuve?

"Serbia, the Sad South" by Roger LeMoyne (Maisonneuve, no. 30, Winter 2008)

Roger: That project was funded with the Lange-Taylor Prize from Duke University, which writer Kurt Pitzer and I shared for 2007. Kurt had also worked in the Balkans in the late 1990s. We first met and worked together in Iraq in 2003 covering the invasion. You really get to know someone fast in a situation like that, running around an open city.

I called him up a day before the deadline and we drew up a proposal to return to the Balkans and follow up where we had left off. So in 2008 we spent 5 weeks covering the Kosovo declaration of independence and southern Serbia.

Serbia is a fascinating place psychologically, and I have always been struck by the fatalism and complexity of its living history — the “why” of their tragic history and recent civil war. If there was ever a place with a “national psyche,” it is Serbia.

After the trip, Kurt got to writing a book about North Korea and wasn’t able to complete his [Balkans] piece. After a while, I started shopping the pictures around and Maisonneuve was first to pick it up. They asked me to write as well, which I was glad to do because I have a lot to say about the place.

NMAF: You’ve now been nominated for thirteen National Magazine Awards and won two since 1992 for your photojournalism in Maclean’s, Destinations, Saturday Night, Chatelaine, Report on Business, Canadian Geographic, Border Crossings and others, and no doubt we’ll see more of your work recognized in the future. What is the significance for a well-travelled freelance photographer to win a NMA and be recognized for all that hard work?

Roger: Personally, the significance of awards is that they’ve helped me overcome self doubt. When I began working I had no idea if I could survive, make a living, be any good as a photographer. Whenever I felt that I was hopelessly inept and dark voices inside were telling me to give up, I would defer to other people’s opinions (such as those giving out awards) and carry on. Of course the prize money is helpful in funding the next project, and it is good fun to go to the awards evenings. I don’t think anyone will deny that recognition from your peers is especially gratifying.

Tahrir Square, Cairo (Feb 2011) by Roger LeMoyne

NMAF: A year ago at this time you were in Tahrir Square in Cairo, documenting the popular revolt unfolding in Egypt, and you’ve also worked in Kurdistan, Palestine and the Amazon, among others. As a veteran photographer what motivates you to document events and people in times of upheaval or transition? 

Roger: The transition/upheaval question is an interesting one. With so many photographs being made around the world—and flying around the internet—there is a kind of existential dilemma of what to photograph and why.

I am constantly watching for the right subject, weighing the pros and the cons of investing myself in a story. I am looking for photos that will have some lasting value, that I can get financing for; photos I really want to make and ones that I can make well, which are not always the same thing.

Periods of transition meet the criteria in several ways: these are moments of change that won’t be repeated, ever, in the same way. They have news value at first, but then become part of a historical record. The moment may pass, but the changes have long-lasting repercussions that keep the photographs relevant.

On another level, these situations also reveal the fragility of society and the human enterprise. I see many of our social constructs as illusory and therefore the potential for chaos as ever present, be it physical, financial or in other forms that we are seeing even now.

Conversely, in times of upheaval, the individual regains some of his self-reliance (or perishes). There is something quite liberating about working in these zones of chaos, where your own actions determine your fate.

NMAF: What else have you been working on recently?

Roger: I have just been to Port-au-Prince again, looking at how the city is putting itself back together two years after the earthquake. Very few people who go to Haiti only go once. It is a fascinating place. I have also been working on a story for The Walrus here in Montreal about circus arts. They paid me to go to the Circus. Fun. In the last few years I have been shooting regularly for Maclean’s, which I usually enjoy, because they have to do all the thinking. Sometimes it is a relief to be told what to photograph and what the point is.

Roger LeMoyne is a Canadian photographer whose images have garnered more than 50 national and international awards. His website is Find out more about Roger’s National Magazine Awards at our Awards Archive. Photograph of Tahrir Square courtesy Roger LeMoyne.

Off the Page, with Joshua Knelman

Off the Page is an exclusive new series produced by the NMAF that reaches out to former National Magazine Award winners to find out what their awards have meant to them and what they’re up to now. Off the Page will appear regularly on the NMA blog during the winter and spring of 2012. This week we catch up with National Magazine Award-winning writer Joshua Knelman.

NMAF: Your new book – Hot Art: Chasing Thieves and Detectives through the Secret World of Stolen Art – is getting great reviews. You mentioned in an interview with The Walrus how this book came to life after you won a National Magazine Award for a story on art theft (“Artful Crimes,” The Walrus, November 2005; Arts & Entertainment category). Can you tell us a little more about how you were able to turn your NMA success into a book? 

Joshua: The National Magazine Award was crucial into shifting The Walrus feature into a book project. Awards have a lot to do with luck. That being said, they also attract attention and provide some leverage.

After the magazine award, I received a few phone calls from literary agents, inquiring about the possibility of a book. I thought there was enough material for one, although I didn’t know exactly how the book would work, or where the research would lead me. I just knew I’d need my passport.

The NMA was also a source of confidence, to pursue the larger, broader story. It’s funny how an award can have that effect. The right agent  (Samantha Haywood) found me, and I am sure the NMA helped her in the all-important pitch to book editors and marketing departments; to be able to say the idea had already garnered a Gold Award from the community of magazine journalists.

It also gave my reputation as a writer some edge, and in the publishing business, any edge helps — especially for a first book. The Walrus feature, combined with the NMA and a dedicated agent who believed in the story, were a perfect storm of support to get a first non-fiction investigation off the ground and into the publishing bloodstream.

NMAF: Describe the feeling of a young writer winning his first National Magazine Award, especially after the long process of researching and writing the piece that became “Artful Crimes.”

Joshua: I remember the feeling, because it was the only year since I’d been working in magazines that I was not present at the actual ceremony. In fact, I was halfway across the world, in Russia, teaching at the Summer Literary Seminars, which had a partnership with The Walrus.

I completely forgot about the NMAs that night, because, let’s face it, I was wandering around a stunning, sprawling Russian city with a bunch of writers and editors.

There was this dingy internet café, called “Players,” where we’d go and check our email at odd hours. St. Petersburg, in June, does not experience full darkness. Often, I could be checking email at Players at 3:30 or 4:30 in the morning, and it seemed normal.

I went to check my email at a very late hour. I remember scanning the screen: it was full of new emails, probably 50 or 60, and they all had the same subject line: GOLD.

It was a beautiful moment. Shaughnessy-Bishop Stall had agreed to say a few words on my behalf [at the NMA gala] in case I won. I still don’t know what he said, but I’m thankful he did. I remember walking out of Players into St. Petersburg and feeling proud.

What I did not think: I will now write a book about international art theft. That happened later.

NMAF: What are you working on next?

Joshua: Hot Art took four and half years of research and writing, and if you include the arc of time from when I first stepped into a local art gallery to write a short article about a burglary, we’re looking at 2003-2011. I’d like to trim that time span down, just slightly, on the next book. I am, though, hoping there will be a next book. There are a few non-fiction stories that interest me. I’m exploring. As I learned with this book: you never know. Follow the thread, and see where it leads you.

Joshua Knelman is an award-winning writer and a founding member of the editorial staff of The Walrus. He has also been a volunteer judge for the National Magazine Awards. His new book, Hot Art, published by Douglas & McIntyre, is in bookstores now. See what other NMAs Joshua has been nominated for at our Awards Archive.

Off the Page, with Jonathan Trudel

[For this special edition of Off the Page, we present our interview with Jonathan Trudel in its original French, with the English version below.]

La nouvelle série Off the Page est une exclusivité produite par la Fondation nationale du prix du magazine canadien (FNPMC) et qui offre aux anciens lauréats de Prix du magazine canadien une tribune où ils sont invités à exprimer ce que leur prix a signifié pour eux et à nous dire où ils en sont aujourd’hui dans leur carrière. La série « Off the Page » paraîtra périodiquement dans notre blogue à l’hiver et au printemps 2012. Cette semaine, nous découvrons quoi de neuf avec le rédacteur Jonathan Trudel.

FNPMC : Vous avez remporté le Prix Alexander Ross du Meilleur nouvel auteur, en 2001, pour votre travail dans L’actualité. Quels souvenirs avez-vous de la réception de ce prix et qu’a-t-il signifié pour vous dans le contexte de votre début de carrière?

Jonathan : J’étais nerveux et intimidé! Je débutais ma carrière en journalisme magazine, et il s’agissait de ma toute première présence à un gala des Grands prix du magazine canadien à Toronto. Écrire de longs reportages de type magazine n’est jamais un exercice facile — même après 12 ans à L’actualité. Quand je m’installe devant mon ordinateur, je me demande encore parfois si j’ai choisi le bon métier. Le Prix Alexander Ross m’a permis de croire, le temps d’un instant, que j’ai peut-être fait le bon choix. Les prix de journalisme — et les Prix du Magazine Canadien sont certainement parmi les plus prestigieux — aident les jeunes journalistes à bâtir leur confiance en soi et à se forger une crédibilité et une réputation dans le milieu.

Cela dit, c’est toujours à recommencer. Après avoir gagné le Prix Alexander Ross en 2001, ma rédactrice en chef m’avait félicité mais aussitôt lancé un défi. En souriant, elle m’avait dit : «Maintenant, il faudra revenir ici, à Toronto, et gagner un prix dans une catégorie rédactionnelle, en compétition avec tous les journalistes du monde du magazine, pas seulement les nouveaux.»

FNPMC : Depuis cette époque, votre carrière dans le secteur des magazines a été prolifique : vous avez été en nomination 17 fois aux Prix du magazine canadien, remportant 4 médaille d’Or et 1 médaille d’Argent pour vos articles dans L’actualité, pour vos textes sur des sujets tels que la santé au masculin, l’écosystème amazonien et même la vedette du hockey Alex Kovalev. À quoi attribuez-vous votre réussite et celle de L’actualité?

Jonathan : Un des grands avantages d’être journaliste à L’actualité, c’est d’avoir du temps. Du temps pour concevoir un sujet. Pour réfléchir. Pour aller sur le terrain, que ce soit en banlieue de Montréal, dans le nord de l’Alberta ou ailleurs. Le journaliste Thomas Friedman, du New York Times, a l’habitude de dire : «If you don’t go, you don’t know.» C’est encore plus vrai en cette heure plutôt difficile pour le journalisme, alors que nous devons trouver des façons de nous démarquer, de montrer pourquoi nous sommes pertinents.

J’ai aussi la chance d’avoir le temps d’écrire. C’est à la fois un luxe et une responsabilité. Quand on dispose de plusieurs semaines pour produire un reportage, on a moins le droit à l’erreur ou d’amorcer son texte avec un mauvais «lead», par exemple. On n’a pas d’excuse.

FNPMC : À quels projets avez-vous travaillé récemment, et croyez-vous que nous verrons votre nom aux prochains Prix du magazine canadien?

Jonathan : Pour le meilleur et pour le pire, je reste un indécrottable journaliste généraliste. C’est inscrit dans mes gènes. En ce moment, je prépare un reportage sur les Canadiens de Montréal, un autre sur les conditions de travail des médecins et je m’apprête à me plonger dans la couverture des élections américaines. J’ai aussi la chance, depuis l’automne, de partager une charge de cours en journalisme à l’Université de Montréal.

Quand à savoir si je serai présent aux prochain gala des prix, je n’en sais rien. Mais bien honnêtement, il est totalement irréaliste de s’attendre à gagner chaque année à Toronto. La compétition est beaucoup trop féroce!

Jonathan Trudel est un rédacteur attitré de L’actualité. Son plus récent article lauréat d’un Prix du magazine canadien, « Un bulldozer nommé PKP », a remporté le médaille d’Or dans la catégorie Affaires, en 2010. Pour plus d’information sur le travail de Jonathan, consultez ses archives à L’actualité.

"Santé, Bonjour le privé" by Jonathan Trudel in L'actualité won a Gold National Magazine Award in 2008, in Service: Health & Family

Off the Page is an exclusive new series produced by the NMAF that reaches out to former National Magazine Award winners to find out what their awards have meant to them and what they’re up to now. Off the Page will appear regularly on the NMA blog during the winter and spring of 2012. This week we catch up with National Magazine Award-winning writer Jonathan Trudel.

NMAF: You won the Alexander Ross Award for Best New Magazine Writer back in 2001 for your work in L’actualité. What do you recall about winning that award and what did it mean for your young career in magazines?

Jonathan: I felt nervous and intimidated! At the time I was just beginning my career as a magazine journalist, and I was attending the gala for the very first time. Writing long feature stories is never an easy task — even after 12 years at L’actualité, I have to admit it’s still a struggle. When I sit in front of my computer, I sometimes wonder if I have chosen the right career. The Alexander Ross Award allowed me to believe, for a moment, that I might have made the right choice. Journalism prizes — and the National Magazine Awards are certainly among the most prestigious in the country — help to build self confidence and give young journalists a chance to establish credibility and reputation in the industry.

That being said, it’s always a new beginning. When I won the Alexander Ross Award back in 2001, my editor in chief congratulated me but almost immediately issued a challenge. With a grin, she said: “Ok, now you’ll have to come back here and earn a prize in a written category, competing with all the journalists in the magazine industry, not only the new ones.”

NMAF: Since then, your magazine career has been prolific: you’ve been nominated 17 times for National Magazine Awards, winning four Gold awards and 1 Silver award for your reporting in L’actualité, for writing about topics such as men’s health, the Amazon ecosystem and even hockey star Alex Kovalev. Why do you think you and L’actualité have been so successful?

Jonathan: One of the main advantages of being a staff writer at L’actualité magazine is that we have time: time to conceive a story; time to think; time to do reporting on the ground, whether it’s in a suburb near Montreal, in northern Alberta or elsewhere. Thomas Friedman, from The New York Times, often says: “If you don’t go, you don’t know.” I think it’s especially true in these rather difficult times for journalism, when we need to find ways to show our value and prove that we are still relevant.

I also have another opportunity: time to write. It’s at once a luxury and a responsibility. When you have weeks to file a story, the expectations (from your boss and your readers) are higher. You don’t have the right to be boring. There is no excuse.

NMAF: What have you been working on recently, and do you think we’ll see your name at the next National Magazine Awards? 

Jonathan: For better or for worse, I have very broad journalistic interests. It’s in my DNA. These days, I’m working on one story about the Montreal Canadiens, another about the working conditions of physicians, and I’m about to jump into the coverage of the upcoming presidential elections in the USA. Since last fall, I’ve also been teaching journalism at Université de Montréal.

Now, will I attend the next National Magazine Awards gala? Of course I can’t possibly know. But honestly, it’s totally unrealistic to expect to win every year on this stage. The competition is way too ferocious!

Jonathan Trudel is a staff writer at L’actualité. His most recent National Magazine Award-winning article — “Un bulldozer nommé PKP” — won the Gold prize in the Business category in 2010. Read more of Jonathan’s work at his archive at L’actualité.


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