I want to praise the killed story. You know, the one that gets spiked, or that your editor ghosts you about; assignments that lose their momentum, pieces stuck in edit hell so long that the moment passes it by. Sometimes—sometimes—these stories manage to still get their day in the sun, and when they do it is absolutely one of my favorite things in publishing.
You may have seen the recent furore around Kate Wagner's piece skewering Formula 1's ludicrous circus ("I think if you wanted to turn someone into a socialist you could do it in about an hour by taking them for a spin around the paddock of a Formula 1 race" gives you a sense of it.) The story was originally published by Road & Track but mysteriously disappeared a short while afterwards because the editor-in-chief apparently decided that "it was the wrong story for our publication" only AFTER the fact. Everyone was confused!
https://lnkd.in/gb4deMet
Now the story is running at Escape Collective, and you're all able to read it. Good news for Wagner, who sees her work out there, and good for Escape, which gets a good story that can bring in new readers (I certainly hadn't heard of it before, but now I've signed up for an account.)
Not every killed story has as dramatic an arc, obviously, but the spike happens. Sometimes a publication gets risk averse, or a story just loses its mojo. Sometimes the reporter can't get the thing over the line, or the editor loses the confidence of their colleagues. That's life.
People are afraid of the spike, but it doesn't mean the end. Personally these are situations that I love. When we started Matter, we sought out spiked stories in purpose: when we found out a great writer's idea had hit the skids at another publication, it was exciting to us. The dream scenario was that we inherit something that is top drawer but simply lost its way at the previous publication. We tried to find new ways to get past whatever was blocking it at its original home and make something new.
Some of my favorite stories from that time started out after being rejected elsewhere. Take David Wolman's The Aftershocks: a deep, fascinating tale detailing how Italian scientists were being put on trial for failing to predict a deadly earthquake—a human tragedy intensified by a scientific witch hunt. I don't think David will mind me saying that the story started out at Wired but eventually lost its way there. So David brought it to us, and we worked hard to keep the story going and turned it into something great. It was a win for him and it was a win for us, too. I still have a soft spot for it all these years later.
So yeah, having somebody kill your story feels pretty bad. But every so often it can be a new beginning.
Head of Ops and Culture at Samsung Americas | DEI Advocate | Operational Excellence
6moYou killed it at Pop Up Grocer, can't wait to see what you do next.