NEWS

MANAGING BOARD LEVEL

News editor

The news editor directs all news content and each member of the news staff. The news editor leads regular staff meetings and oversees the senior staff writers and staff writers. (S)he should have a primary focus of pushing our senior staff writers to build thorough source relationships toward accomplishing spectacular reporting that matters. (S)he develops and assigns big-picture story ideas, is present at nightly production, while managing the day-to-day budget and staff development. In addition, the news editor is expected to think about the section on a macro level, working to plan long-term features, series, special issues, and other projects. As a Managing Board member, the News Editor sits on the Editorial Board.

DEPUTY LEVEL

Senior Staff writer

Senior staff writers are the heart of the news section: they oversee news coverage for one specific coverage zone (for example: academics/administration, Barnard, student life). Senior staff writers are responsible for writing our best, enterprise stories, that are the culmination of semesters of beat reporting and relationship building.  They also oversee the 2-4 staff writers who fall into their beat, giving them the benefit of institutional memory and source relationships.  Senior staff writers are also responsible for any breaking news within their coverage zone and help plan long-term reporting projects and special issues.

Associate LEVEL

STAFF wRiter

Staff writers have undergone a rigorous training and selection process to ensure our coverage of a particular topic is in-depth and complete. They will be required to keep regular contact with key sources within their coverage area, attend relevant meetings, and stay on top of the issues within that beat. They are expected to pitch and write stories related to their beat weekly, keep their senior staff writer updated on the beat's ongoing storylines. 

❖

cITY NEWS

MANAGING BOARD LEVEL

CITY News editor

The city news editor directs all city news content and each member of the city news staff. The news editor leads regular staff meetings and oversees the senior staff writers and staff writers for the city section. (S)he should have a primary focus of pushing our senior staff writers to build thorough storylines toward accomplishing spectacular reporting that matters. (S)he develops and assigns big-picture story ideas, is present at nightly production, while managing the day-to-day budget and staff development. In addition, the city news editor is expected to think about the section on a macro level, working to plan long-term features, series, special issues, and other projects. As a Managing Board member, the City News Editor sits on the Editorial Board.

DEPUTY LEVEL

Senior Staff writer

Senior staff writers are the heart of the news section: they oversee news coverage for one specific coverage zone (for example: academics/administration, Barnard, student life). Senior staff writers are responsible for writing our best, enterprise stories, that are the culmination of semesters of beat reporting and relationship building.  They also oversee the 2-4 staff writers who fall into their beat, giving them the benefit of institutional memory and source relationships.  Senior staff writers are also responsible for any breaking news within their coverage zone and help plan long-term reporting projects and special issues.

Associate LEVEL

STAFF wRiter

Staff writers have undergone a rigorous training and selection process to ensure our coverage of a particular topic is in-depth and complete. They will be required to keep regular contact with key sources within city news, attend relevant meetings, and stay on top of the issues within that beat. They are expected to pitch and write stories related to their beat weekly, keep their senior staff writer updated on the beat's ongoing storylines. 

❖

OPINION

MANAGING BOARD LEVEL

Editorial page editor

The editorial page editor oversees all opinion content and staff. The EPE is responsible for looking at every piece of content before it is published, as both an arbiter and an editor. As such, they are the final say on all Opinion content and any proposed content direction for the section. Overseeing content also includes budgeting content for the week and managing senior staff accordingly. The EPE will occasionally take a stronger role in editing more sensitive pieces of content, but should never be involved in first-round edits otherwise. The EPE will handle one to three nights of weekly production, including print production. Overseeing the staff means training editors, leading weekly meetings, managing current staff, and recruiting new staff. In accordance with Spectator’s org-wide mission, the EPE is a teacher and a mentor to staff, and should communicate and adjudicate regularly in order to foster growth within the section.

The EPE is the public face of Opinion, and is responsible for embodying Spectator's values inside and outside of the office. The EPE manages responses to all sensitive emails, and in particular, emails of dissatisfaction. They are the primary mediator between Opinion and the community, and as such are expected to take responsibility for both successes and failures within the section.

The EPE directs the Editorial Board and is expected to be the primary writer for all staff edits.

DEPUTY LEVEL

deputy EDITOR

Deputies are responsible for recruiting op-eds, managing columnists, and spearheading projects within their zone of coverage: Administration, Student Life, or City. Deputies can recruit pieces centered around breaking news, perennial issues of interest to the Columbia community, as well as propose larger content directions for the op-ed section. They are also responsible for managing the Opinion inbox, curating and editing pieces that are sent in. Deputies manage associates within their zone, and work with them on pitches and first-round edits. They are zone leaders responsible for mentoring up to 5 associates and trainees. Op-ed deputies are expected to run one night of production a week in the Spectator office.

ASSOCIATE LEVEL

Senior associates

Senior associates are jacks of all trades within the section, and are responsible for recruiting, assisting with secondary edits across sub-sections, and mentoring trainees whenever needed. They are responsible for aiding in section-wide training, attending weekly senior staff meetings, and serving as experts within their beats. They may be required to assist with writing staff editorials, per the discretion of the EPE. They are expected to run one night of production every other week in the Spectator office.

❖

ARTS & ENTERTAINMENT

MANAGING BOARD LEVEL

Arts & Entertainment editor

The A&E editor is responsible for the curation of high-quality arts and entertainment content taking place on campus or pertaining to alumni and students off-campus. (S)he oversees all beats within the section, assigning and workshopping pitches in weekly meetings. The A&E editor is also present at 4-5 production nights, offering edits and feedback while working in person with writers on their articles. The A&E editor is also responsible for the long-term goals and organization of the section, ensuring that staff are well-trained and brought into the section and Spectator’s mission, as well as progressing as individuals to develop new skills in journalism. Finally, (s)he will also be an active member of the editorial board, committing to crafting insightful editorials with other managing board members.

DEPUTY LEVEL

Deputy A&E Editor

The A&E deputy editor is responsible for the section’s daily operations. (S)he manages staff’s deadlines and schedule content for the week, ensures photographers and visuals are matched to pieces, and corresponds regularly with relevant editors and writers when changes are made. The deputy also contributes to workshopping pitches in meetings, and makes in-person edits with writers on 3 production nights.

Associate Level

A&E Staff Writer

A&E staff writers qualify for one of the section’s artistic beats and quickly become familiar with the community which they cover. They maintain consistent and organized calendars of upcoming events relevant to their beat, and present upcoming events they are covering at pitch meetings. Staff writers are expected to have a quick turnover rate with coverage, often reporting and writing article straight after the event at production. They are quick to incorporate edits and feedback into their work, allowing for responsive and creative critiques of arts and entertainment.

❖

SPORTS

MANAGING BOARD LEVEL

Sports editor

The leader of the sports section, it is the editor’s responsibility to oversee all sports coverage. The editor works closely with the managing board, as well as visual sections’ deputies to produce the best content possible. Although the editor will only perform editorial duties two nights per week, they will be expected to have a regular presence in the office. The editor is responsible for planning a weekly schedule, weekly meetings, training schedules, and bonding events. The editor is also responsible for creating and carrying out the onboarding process, integrating new trainees into the fold of the Sports section. The editor serves as the single point of contact for all Columbia Athletics Sports Information Directors (SIDs), should there be any issues. In addition to keeping close contact with all SIDs, the sports editor must develop and maintain a rapport with the university’s athletic director in order to stay informed of all developments regarding athletics and the physical education department. As a member of the Managing Board, the Sports Editor sits on the Editorial Board.

DEPUTY LEVEL

deputy sports editor

Deputy editors work closely with the sports editor to determine upcoming stories and organize beat coverage. Additionally, for one production night per week, the deputies assume the role traditionally held by the editor, performing final reads on all articles. Deputy editors must be familiar with the routine of a standard production night. Deputy editors are also responsible for keeping the section’s writing and reporting skills sharp through workshopping articles and conducting weekly training at section meetings. Each deputy will be assigned to a Sports Information Director (SID) with whom they will work to ensure that communications between writers and the teams they cover are well-maintained.

ASSOCIATE LEVEL

sports staff writer

A sports staff writer is assigned to cover one sport per season, which entails attending and covering games, regularly speaking with the coaches and the players, and regularly pitching feature ideas within the beat. Staff writers are expected to write at least one feature for their team per week, as well as game precaps for their sport. Staff writers report to a deputy sports editor, who will help them conceptualize and execute features and work with the Sports Information Director (SID) for their sport.

❖

COPY

MANAGING BOARD LEVEL

Head copy editor

The head copy editor has the final say on style issues and is responsible for ensuring that all of Spectator’s content is entirely accurate, clear, and eloquent. The HCE recruits and trains all copy editors and provides ongoing development, feedback, and guidance throughout the year. The HCE is responsible for overseeing production throughout the week, reading content at the printout stage and performing the last round of edits for the print paper. When not in the office, the HCE must be available to copy edit remotely and respond to questions during the day, on weekends, and during academic holidays. The HCE is responsible for all organizational aspects of the section and works together with the deputies to plan section bonding activities and training. As a member of the Managing Board, the HCE sits on the Editorial Board.

DEPUTY LEVEL

Deputy copy editor

A deputy copy editor comes to the office one night per week to edit content at the printout stage. A DCE must ensure that all articles not only adhere to Spec style and are grammatically accurate, but that they are as clear and eloquent as possible. In addition, a DCE helps to train preslotters and associate copy editors, which includes being available for questions during production. DCEs assist the head copy editor in shaping Spec style by identifying potential changes and refinements. DCEs also help edit daytime or weekend content remotely and at any production stage, when needed. Outside of production, DCEs also work together with the HCE to carry out administrative tasks and communicate with staff.

ASSOCIATE LEVEL

Associate copy editor

Associate copy editors come into the office one night a week and edit articles at the slot stage, which involves checking for errors and adherence to Spec style, improving the writing’s style and clarity, and generally providing more complex and comprehensive edits than in the preslot stage. An ACE is also a leader and mentor for preslotters and should be available throughout their shift to respond to preslotters’ questions. An ACE should be comfortable reaching out to editors of other Spectator sections during production to discuss any suggestions or comments the ACE has regarding an article.

PRESLOTTER

Preslotters come into the office for a three-hour shift once a week and are responsible for the first stage of copy editing for all content. Preslotters CQ all relevant content and ensure that articles adhere to Spec style and are grammatically and factually accurate.

❖

PHOTO

MANAGING BOARD LEVEL

Photo editor

The photo editor oversees all aspects of the photography department. The editor will manage the staff and equipment and is responsible for ensuring the quality of photo content across sections. The editor must work closely with the photo deputies to make sure that all photographers that the deputies oversee are communicating with the writers in their pods/zones. The editor will ensure that at least one photo-essay is published per week, pitching ideas to photographers, helping photographers connect with potential sources, and editing the photographer’s work down to a strong body of photographic work. The editor should also have strong archival research skills, finding creative sources for visual content when no active photography is possible. The editor will supervise nightly production during the week, and will take a lead role in planning supplements and original photo content. The photo editor should have sound visual and journalistic judgment, strong leadership skills, and a vision for how both to fulfill the department's basic mission in accord with the highest standards of aesthetic distinction and journalistic integrity and to expand Spectator's photographic activities to take advantage of the opportunities of new media. As a member of the Managing Board, the Photo Editor sits on the Editorial Board.

DEPUTY LEVEL

Deputy photo editor

These deputy editors are responsible for coordinating photo coverage for a given content section. These editors will work closely with the photo editor and content editors in each section. Prior experience in the department is strongly preferred.

NEWS — The photo deputies for the news section will oversee all photographs for news from creation to publication, making sure that staff photographers have all info needed to cover engaging weekly stories, are aware of deadlines, and supporting the photographers in his/her coverage zone with editorial guidance. The photo deputies for the news section should also have strong archival research skills, finding creative sources for visual content when no active photography is possible. The photo deputies will ensure the communication between photographers and the rest of their zone to make sure that stories are planned as a collaborative effort between writers, photographers and designers. The deputy editors are expected to complete necessary assignments themselves when other photographers on staff are not available. The deputy editors must be flexible and prepared to arrange photo coverage for late-breaking news, and must be able to be in contact multiple times daily with photographers, writers, and editors. The deputy editors will also be responsible for post-production in the office during production nights. The deputy editors will provide their photographers with support in completing assignments, offering advice and providing feedback in cooperation with the Photo Editor and making themselves available for less experienced photographers to shadow on assignment.

SPORTS — The sports deputy editor will oversee photo coverage for the sports section. The deputy editor will participate in weekly graphics-photo meetings with the sports editors and send out weekly assignment emails. The sports deputy editor should also have strong archival research skills, finding creative sources for visual content when no active photography is possible. The deputy editor is also expected to lead photo coverage of marquee sporting events and to complete necessary assignments him/herself when other photographers on staff are not available. This position often requires a significant time commitment on weekends, including potentially traveling to cover away games. The deputy editor will provide logistical support for sports photographers, arranging for press credentials, travel, and access to Spectator's telephoto lens. The deputy editor will also provide, in cooperation with the senior deputy, advice and feedback for photographers on technical and aesthetic matters, and will make him/herself available for less experienced photographers to shadow on assignment. The deputy editor will act as the liaison between Spectator and CU Athletics, and will work with other student newspapers when acquiring outside photographs. The deputy editor will also archive and tag each weekend's sport photography on Spectator's server and save photos for web and print on production nights. 

A&E — The photo deputy for the A&E section will oversee all photographs for A&E  from creation to publication, making sure that staff photographers have all info needed to cover engaging weekly stories, are aware of deadlines, and supporting the photographers in his/her coverage zone with editorial guidance. The photo deputy for the A&E section should also have strong archival research skills, finding creative sources for visual content when no active photography is possible. The photo deputy will ensure the communication between photographers and the rest of their zone to make sure that stories are planned as a collaborative effort between writers, photographers and designers. The deputy editor will be responsible for overseeing zone meetings, during which they will make sure the photos running provide a fuller understanding of the stories at hand. The photo deputy will manage photo assignments for all the stories in the respective zones they cover and guarantee that photos planned for each story are scheduled and completed. The deputy editor is expected to complete necessary assignments themselves when other photographers on staff are not available. The deputy editor must be flexible and prepared to arrange photo coverage for late-breaking A&E news, and must be able to be in contact multiple times daily with photographers, writers, and editors. The deputy editor will also be responsible for post-production in the office during production nights. The deputy editor will provide its photographers with support in completing assignments, offering advice and providing feedback in cooperation with the Photo Editor and making themselves available for less experienced photographers to shadow on assignment.

THE EYE — The photo deputy for the Eye will oversee all photographs for the Eye from creation to publication, making sure that staff photographers have all info needed to cover engaging weekly stories, are aware of deadlines, and supporting the photographers in his/her coverage zone with editorial guidance. The photo deputy for the Eye should also have strong archival research skills, finding creative sources for visual content when no active photography is possible. The photo deputy will ensure the communication between photographers and the rest of their zone to make sure that stories are planned as a collaborative effort between writers, photographers and designers. The deputy editor will be responsible for overseeing Eye meetings, during which they will make sure the photos running provide a fuller understanding of the stories at hand. The photo deputy will manage photo assignments for all the stories they cover and guarantee that photos planned for each story are scheduled and completed. The deputy editor is expected to complete necessary assignments themselves when other photographers on staff are not available. The deputy editor must be able to be in contact multiple times daily with photographers, writers, and editors. The deputy editor will also be responsible for post-production in the office during Eye production nights. The deputy editor will provide its photographers with support in completing assignments, offering advice and providing feedback in cooperation with the Photo Editor and making themselves available for less experienced photographers to shadow on assignment.

OPINION — The photo deputy for the Opinion section will oversee all photographs for Opinion from creation to publication, making sure that staff photographers have all info needed to cover engaging weekly stories, are aware of deadlines, and supporting the photographers in his/her coverage zone with editorial guidance. The photo deputy for the Opinion section should also have strong archival research skills, finding creative sources for visual content when no active photography is possible. The photo deputy will ensure the communication between photographers and the rest of their zone to make sure that stories are planned as a collaborative effort between writers, photographers and designers. The photo deputy will manage photo assignments for all the stories they cover and guarantee that photos planned for each story are scheduled and completed. The deputy editor is expected to complete necessary assignments themselves when other photographers on staff are not available. The deputy editor must be able to be in contact multiple times daily with photographers, writers, and editors. The deputy editor will also be responsible for post-production in the office during Opinion production nights. The deputy editor will provide its photographers with support in completing assignments, offering advice and providing feedback in cooperation with the Photo Editor and making themselves available for less experienced photographers to shadow on assignment.

Associate Level

Staff Photographer

The staff photographer is responsible for taking photo assignments within a certain coverage zone or section at Spectator, working closely with writers and editors to take visually compelling and relevant photos. 

Staff VIDEOGRAPHER

The staff videographer is responsible for producing video content within a certain coverage zone or section at Spectator, working closely with writers and editors to craft visually driven, journalistic narratives within their videos. They will be responsible for all roles within a production team on various video projects, including cinematographer, direction, production, sound, lighting, etc.

❖

NEWSROOM DEVELOPMENT

MANAGING BOARD LEVEL

HEAD OF NewsROOM devELOPMENT

The newsroom development editor will oversee Spectator’s newest journalism section. As such, s(he) should be ready to creatively define the vision of the section as it evolves, with the main goal of translating Spectator’s journalism to a digital format. The role will entail constant brainstorming of how digital layouts allow readers to engage actively with in-depth reporting, rather than scroll passively through longer pieces. The job entails imparting the technical knowledge necessary to each member of the production staff through training sessions, workshops, and/or one-on-one tutelage as well as imparting design expertise (drawn from exposure to his/her colleagues, professional designs, studies on the subject, and general experience in the field) to the staff in order to consistently evolve and improve Spectator’s visual presentation.

The head of newsroom development will maintain active and in constructive communication among their own associates and deputies, graphics associates and deputies, product associates and deputies, and written reporting sections’ associates and deputies; train new design staff members; and develop the best way for Spectator to convey information and incorporate them into Spectator style.

Therefore, the head of newsroom development should possess the following: mastery of online and interactive graphic production formats; knowledge of Spectator reporting procedures; a passion for journalism in general and the desire to improve Spectator’s visual production to make it as strong as possible on a consistent basis. As a member of the Managing Board, the head of newsroom development sits on the Editorial Board.

DEPUTY LEVEL

Deputy EDITOR

A newsroom development deputy is responsible for overseeing a team of staffers to work closely with other reporting sections and visuals teams. This position will focus on the communication, design, and implementation of numerical and informational visuals, as well as photo illustrations and art where creative visual presentation is the emphasis. Responsibilities include attending zone and CPM meetings, ensuring that staff designers are pitching and producing high-quality visual layouts for stories, and overseeing communication between the relevant reporters and designers to ensure that digital layouts are appropriately planned and executed. Newsroom development deputies should also expect to assist the editor in training the new and current staff each semester and to perform final editing and web-saving.

ASSOCIATE LEVEL

Associate DEVELOPERS

Associate developers are responsible for working closely with all reporting and visuals sections to execute creative digital layouts for content. They should be familiar with reporting production schedules and take initiative in learning new languages or methods for digital production.

❖

GRAPHICS

MANAGING BOARD LEVEL

GRAPHICS editor

The graphics editor is tasked with creative visual production for journalism based heavily in data—both qualitative and quantitative—and finding more entry points for readers to engage directly with Spectator’s written content.

While data is one piece of an overall story, it is never the full story. As such, the graphics editor should have strong reasoning and reporting skills to ensure that data is accurately presented within a story. The job entails imparting the technical knowledge necessary to each member of the production staff through training sessions, workshops, and/or one-on-one tutelage as well as imparting graphics expertise (drawn from exposure to his/her colleagues, professional designs, studies on the subject, and general experience in the field) to the staff in order to consistently evolve and improve Spectator’s visual presentation. The graphics editor should also be capable of managing the team of design deputies to ensure that all graphics produced are informative, accurate, and visually compelling. (S)he will also manage graphics deputies as they oversee large data and digital features projects.

The graphics editor will maintain active and in constructive communication among graphics reporters and deputies, other content sections’ associates and deputies; train new graphics staff members; develop the best way for Spectator to convey information and incorporate them into Spectator style; and ensure that the print issue is produced according to the guidelines set out in the style guide. As a member of the Managing Board, the Graphics Editor sits on the Editorial Board.

Therefore, the graphics editor should possess the following: mastery of online and interactive graphic production formats; knowledge of Spectator reporting procedures; strong analytical skills; a passion for journalism in general and the desire to improve Spectator’s graphics to make it as strong as possible on a consistent basis.

DEPUTY LEVEL

GRAPHICS DEPUTY editor

A graphics deputy is responsible for overseeing a team of graphics reporters. This position will focus on the communication, design, and implementation of data visualization, as well as other creative visual mediums. Responsibilities include attending zone and CPM meetings, ensuring that graphics reporters are pitching and producing high-quality graphics for stories, and overseeing communication between the relevant graphics reporters and writers to ensure that graphics are appropriately planned and executed. Additionally, they work with the graphics reporters on production nights to ensure that all graphics are informative, accurate, and visually compelling. Graphics deputies should also expect to assist the editor in training the new and current staff each semester and to perform final graphics editing and web-saving.

ASSOCIATE LEVEL

Graphics reporter

Graphics reporters will work with deputy editors and writers across Spectator on assignments. They will become knowledgeable about coverage zones and be responsible for pitching and producing graphics for stories.

❖

ILLUSTRATIONS

MANAGING BOARD LEVEL

Audio editor

As the leader of the illustrations team, (s)he is responsible for ensuring that each member of this section improves their personal portfolio. (S)he will also manage illustrations deputies as they oversee projects within The Eye (the Arts Issue, the Comics Issue, Eyesights, View From Here, features, leads) and within Opinion (Love, Actualized, Discourse & Debate, op-eds, columns). As a member of the Managing Board, the illustrations editor sits on the Editorial Board.

DEPUTY LEVEL

Audio deputy editor

The illustrations deputies oversee all of the illustrations for The Eye and Opinion columns. They work closely with a team of illustrators and with other section editors and deputies to ensure that all illustrations are high-quality, visually representative, and delivered in a timely manner. Responsibilities include attending zone and CPM meetings, planning illustrations alongside the staff illustrators and appropriate section editors, ensuring that all necessary illustrations are submitted in a timely manner, and providing illustrators with consistent and constructive feedback on their work. They should expect to web-save illustrations for their section at the end of each production night and hold weekly illustrations meetings. Applicants should have a strong visual sense, illustration capabilities, and intermediate to advanced knowledge of Adobe Photoshop.

ASSOCIATE LEVEL

Staff Editors

Staff illustrators will be responsible for pitching and producing illustrations for a specific columnist or writer within their respective section.

❖

Audio

MANAGING BOARD LEVEL

AUdio editor

Deputy LEVEL

Audio Deputy editor

Associate LEVEL

Staff editors

❖

VIdeo

MANAGING BOARD LEVEL

Video editor

Deputy BOARD LEVEL

Video DEputy editor

Associate LEVEL

Staff editors

The staff videographers are responsible for producing video content within a certain coverage zone or section at Spectator, working closely with writers and editors to craft visually driven, journalistic narratives within their videos. They will be responsible for all roles within a production team on various video projects, including cinematographer, direction, production, sound, lighting, etc.

❖

the eye

MANAGING BOARD LEVEL

Managing Editor

The managing editor of The Eye is responsible for all aspects of the magazine’s publication. They must have a proven understanding of magazine journalism and an ability to communicate The Eye’s mission to those both inside and outside of the organization. The managing editor directly supervises all deputy-level staff, works closely with other section leaders to coordinate content, and oversees The Eye’s training program. The managing editor is also responsible for approving all story pitches, making final edits on all pieces coming out of the magazine, and for ensuring that a high standard of writing and reporting quality is reflected in every piece of Eye content. They must be present for nightly production.

The managing editor is also responsible for conceiving and overseeing long-term projects—such as  investigations and special issues, as well as other non-editorial projects, such as initiatives to expand the magazine’s audience, or planning and executing Eye events. The managing editor is the face of The Eye and is therefore responsible for maintaining the magazine's voice, reputation, and relevance around campus.

The managing editor must have a proven record of excellent editing judgement and must be comfortable making tough calls on behalf of the magazine. They must be able to work well under pressure, successfully juggle many ongoing tasks at once, and be available to quickly provide additional editorial and personal support to other editors whenever the need arises. They must also have strong reporting skills, a thorough understanding of journalistic ethics, and tested institutional knowledge of the University and its surrounding neighborhood. As a member of Spectator’s Managing Board, the managing editor of The Eye sits on the Editorial Board.

deputy BOARD LEVEL

FEATURES editor

The features editor is responsible for overseeing all reported features published each week. They directly supervise the initial pitching, planning, and progress of each story, proactively providing editorial support whenever the need arises. They are responsible for setting and maintaining a clear production schedule for features, for thoroughly completing a second round of edits on all feature stories and bringing them to a high standard of quality, and for overseeing the coordination of visuals for each piece. The Features Editor should have strong reporting, editing, and management skills, as well as sturdy institutional knowledge that manifests in a proven ability to pitch and assign smart and relevant stories across the zones. The Features Editor is also responsible for directly overseeing several trainees each semester. 

lead story editor

The lead story editor is responsible for all stages of each week's lead story. At the beginning of the semester, the lead story editor brainstorms lead story pitches with the Eye and Spectator’s managing editors. The lead story editor is then responsible for recruiting writers, helping each craft a story plan (for approval by the Eye Managing Editor and CB), coordinating meetings with the visuals and front-end department, and workshopping and editing drafts with each lead’s writer. The lead story editor ensures that each lead is thoroughly researched, reported, and edited through several drafts. The lead story editor should have a strong research, writing, and management background, as well as tested institutional knowledge, and should be able to closely assist the lead writers with specific reporting projects. The Lead Story Editor supervises the associate lead story editor and is also responsible for directly overseeing several trainees each semester.

zone editor

Each zone editor is responsible for overseeing all aspects of their zone’s development and content production. In addition to setting and communicating the mission of their zone, they closely supervise the growth and development of all writers within the zone, and ensure that the zone produces at least one well-reported and well-written feature per issue. They must thoroughly vet all pitches to ensure all angles are original, smart, and timely, ensure all stories are on track for production, and thoroughly edit first drafts to bring them up to a high standard of quality. They also conceive of and execute longer-term zone project ideas. Zone editors must have a deep and proven knowledge of all aspects of their beat and a demonstrated ability to independently build strong source relationships on behalf of the zone and the magazine. As such, the zone editors must have a strong editing, reporting, and managing abilities. (Zones: Academics, Community, Student Life.)

ASSOCIATE LEVEL

ASSOCIATE lead story EDITOR

Each zone editor is responsible for reporting, editing and organizing content in their zone or storyline. In addition to setting and communicating the mission of their zone, they work closely with writers within the zone at every stage—developing pitches to ensure all angles are original, smart, and timely, day-to-day work with writers, and at least the first round of editing. They will collaborate closely with deputy editors. They also conceive of and execute longer-term zone project ideas. Zone editors must have or be willing to develop a deep knowledge of all aspects of their beat, and be passionate about their coverage and a demonstrated ability to independently build strong source relationships on behalf of the zone and the magazine. As such, the zone editors must have a strong editing, reporting, and managing abilities. 

Eyesights editor

EYESIGHTs are 500-800 word essays on a range of timely, Columbia-specific topics that capture and provide thoughtful commentary on the minutiae of life on campus. The EYESIGHTs editor will be responsible for overseeing the production of 3-4 EYESIGHTs per week and maintaining consistency in the vision for and tone of EYESIGHTs over the course of the year. They will be responsible both for identifying assigning writers to timely EYESIGHT topics each week and soliciting EYESIGHT pitches. They will establish and maintain an EYESIGHT production cycle, coordinate accompanying illustrations with the Design team, and edit and oversee each piece through production. They report directly to The Eye’s managing editor.

VIEW FROM HERE ASSOCIATE EDITOR

The View From Here editor is responsible for managing The Eye's View From Here section, which comprises personal essays and creative nonfiction writing. The View From Here editor should develop a prospective schedule of writers who have agreed to submit personal essays at the beginning of the semester and adjust as necessary. To recruit writers, the View From Here editor should develop relationships with writing groups on campus in order to encourage more people to contribute creative essays or stories. The View From Here editor should work closely with the writer each week on edits in order to conserve the writer's voice in a manner that is consistent with the quality of writing in the magazine overall.

EYE STAFF WRITER

Eye staff writers are responsible for pitching, reporting, and writing most content types at the Eye. Eye staff will be assigned a Zone for reporting, where they will work closely with their Associate editor and work closely with the magazine's art team to communicate about visuals for each piece. Eye staff writers are expected to attend weekly meetings and production until the editing of their feature is complete.