ASME
The American Society of Magazine Editors announced finalists for its 2014 National Magazine Awards Thursday. Among the usual suspects (New York got nine nominations, and National Geographic, Wired and The New Yorker each got six) were some newcomers: The Verge got a nomination for the video that accompanied its story about Carmen Tarleton, who received a face transplant.
Katie Drummond, then The Verge’s science editor and now its assistant managing editor, talked with Poynter last year about creating the visuals for that story. “When you’re telling the intimate story of someone who’s been through such inconceivable challenges,” Drummond said, “it becomes even more important to accurately and sensitively capture who they are and what they’ve been through.”
Modern Farmer also got its first nomination, for General Excellence in the Special Interest Magazines category. Modern Farmer courts a couple of audiences simultaneously: foodies and farmers. “We’re credible with farmers because of the stories we’re telling,” Editor-in-Chief Ann Marie Gardner told Poynter last year. “And because we’re focused on solutions, which is something they appreciate.”
Other first-time finalists include The Hollywood Reporter and Landscape Architecture (also in the General Excellence/Special Interest category), Pacific Standard (General Excellence, Literature, Science and Politics Magazines category) and Road and Track (for Magazine Section).
In 2012, the awards didn’t nominate women in its reporting, feature writing, profile writing, essays and criticism or columns and commentary categories. ASME chief Sid Holt called criticism of that fact “kind of silly” but the next year’s awards were more diverse. This year, Janet Reitman (for her story about Dzhokhar Tsarnaev in Rolling Stone, whose cover drew some attention) and Emily DePrang are nominated in the reporting category, Lisa Miller is nominated in the feature writing category, Rachel Kaadzi Ghansah and Ariel Levy are nominated in essays and criticism and Emily Nussbaum is nominated in commentary.
