The editor in chief is responsible for overseeing all aspects of Spectator spanning across the journalism and business divisions. (S)he will manage the two vice presidents of Spectator (managing editor and publisher) in the execution of their roles. The editor in chief will engage in big-picture thinking about the ways Spectator should create, distribute, and monetize content, focusing on ensuring that Spectator is fulfilling its mission (and in particular, constantly enhancing the quality of our journalism). The editor in chief acts as the final decision maker on both journalism and business matters, the primary liaison to the board of trustees and alumni, point person on legal issues, and serves as the public face of Spectator. The editor in chief will oversee all financial and human resource allocation. The editor in chief is the president of Spectator and sits on Spectator's Editorial Board.
The managing editor oversees Spectator's three publications: the Columbia Daily Spectator, Spectrum, and The Eye. The managing editor is responsible for directly managing the journalism managing board members and, along with the EIC, drives major editorial projects and coverage across all sections. The ME provides regular feedback and training to all members of staff. The managing editor runs nightly production, from doping to printouts. In addition to updating the weekly sked on Trello, the ME also runs the weekly content planning meetings and has the final approval on the weekly budget of stories for all publications.
The ME must have strong reporting skills, a thorough understanding of journalistic ethics, and deep institutional knowledge of the University. S(he) must also be a sharp editor, make tough calls, and be able to think clearly and work efficiently under pressure and little sleep. The ME, along with the EIC, has the final approval before pieces are published.
The managing editor is a vice president of Spectator and sits on Spectator's Editorial Board.
The publisher is responsible for overseeing all aspects of Spectator's Business & Innovations division, which includes the organization's product, revenue, events, and engagement teams. (S)he oversees the conceptualization, development, and execution of Spectator's products and events, ensuring that they help students get the most out of their Columbia experience and solve critical information gaps through information. (S)he is responsible for operational revenue generation and fundraising, as well as monetization across all of Spectator's publications, events, and products. (S)he promotes the Spectator brand, and optimizes how Spectator reaches its audience. The publisher directly manages the directors of non-editorial sections and Spectrum, is a vice president of Spectator, and sits on Spectator's Editorial Board.
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.
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 4-8 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.
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.
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.
Op-ed deputies are in charge of running Spectator’s op-ed section. They are expected to consistently recruit op-eds in response to both breaking news, and 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. Op-ed deputies manage all op-ed associates 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.
The columnist deputy is in charge of Spectator’s columnists and running Spectator’s columns section. They are responsible for recruiting columnists, meeting with and training 10-14 writers, and organizing illustrations (and more generally, logistics) for columnists. Column deputies also manage columns associates and work with them on first-round edits. They are zone leaders responsible for mentoring up to 5 associates and trainees. They are expected to run one night of production a week in the Spectator office.
The projects deputy is in charge of running Spectator’s Opinion projects section, which includes Discourse & Debate, Scopes, Love, Actualized, podcasts, and innovating further projects for opinion. They are in charge of managing and training 3-5 associates and working with them on first-round edits. They are also expected to communicate with visuals and Product on the logistics of any proposed project. They are zone leaders responsible for mentoring up to 5 associates and trainees. 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 a week in the Spectator office.
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.
Columns associates are responsible for developing, editing, and polishing Spectator’s opinion columns. They are particularly involved in the early development of opinion columns, and should expect to provide preliminary edits and revisions for at least 4 pieces a week. Columns associates must attend weekly all-columns staff meetings in which columnists pitch and refine their content ideas. Additionally, columns associates will be tangentially responsible for recruiting op-eds, and will assist with production for one night a week in the Spectator office.
Op-ed associates are responsible for recruiting and editing op-ed content. Op-ed associates will be assigned a “beat” for which they will recruit pieces. More broadly, op-ed associates identify key storylines that the opinion section should cover, and should attend student government meetings, club meetings, and University Plenary meetings to get a sense of what's going on around campus. Op-ed associates must attend weekly pitch meetings in which they pitch content ideas and brainstorm contacts. Additionally, op-ed associates assist with production for one night a week in the Spectator office.
Projects associates are responsible for editing, recruiting, and managing opinion projects which don’t fall under the purview of op-eds or columns. Currently, these include Discourse & Debate, Love, Actualized, and Scopes, however projects associates should be innovative and willing to pitch and take on new ideas throughout the semester. For D&D, associates will help manage and edit 3-5 contributors. They will attend weekly meetings, and prep questions with their deputy. Scope associates will work closely with their deputy to help plan a semester’s worth of scopes, and be responsible for recruitment, planning, and editing 1-2 scopes per month. All projects associates will also be tangentially responsible for recruiting and editing op-eds, and must assist with production for one night a week in the Spectator office.
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.
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.
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.
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 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.
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.
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.
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 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.
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.
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 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.
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 (1 positions available) — 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 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 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 deputies 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 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 (1 position available) — 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 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 (1 position available) — 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 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 (1 position available) — The photo deputy for the Eye section 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 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 (1 position available) — 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 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.
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.
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.
The Design Editor manages a staff with a two-part responsibility: first, to tell visual stories and present information in a clear, visually engaging manner, and second, to unite editorial content with broadsheet paper by incorporating photos, typefaces, and graphics in a creative, informative way within the framework of a well-defined, though constantly evolving print style sheet. As the leader of this staff, the Design Editor is responsible for ensuring that each aspect of that description is fulfilled.
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 design 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. 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).
The design editor will maintain active and in constructive communication among the design associates and deputies, photo associates, and other content sections’ associates and deputies; train new design 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 Design Editor sits on the Editorial Board.
Therefore, the design editor should possess the following: mastery of Adobe InDesign, Photoshop, and Illustrator, as well as supporting online and interactive graphic production formats; knowledge of Spectator print formats and methods; strong organizational skills; a passion for design in general and the desire to improve Spectator’s design to make it as strong as possible on a consistent basis.
A graphics deputy is responsible for overseeing a team of staff designers in their respective coverage zones. 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 graphics for stories in their coverage zones, overseeing communication between the relevant designers and writers to ensure that graphics are appropriately planned and executed, and working with the design editor to provide feedback and support for associate and staff graphic designers. Additionally, they work with the staff designers 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.
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.
The layout deputy is responsible for overseeing the layout of the weekly print issue. He or she is responsible for organizing the elements of the issue in adherence to the guidelines specified in the style guide, for coordinating the efforts of the editorial, copy, and photo staffs, and for ensuring that the pages that come to the design editors at the end of the night are ready for transmission to the printer. Responsibilities include ensuring that the print issue is produced according to the guidelines set out in the style guide, assisting the editor in training the new and current staff in InDesign and style guide guidelines each semester, and communicating with the staff designers, design editor, and section editors to ensure that all content and layout is executed as planned.
Staff designers will work with the writers in their assigned section. They will become knowledgeable about their coverage zones and be responsible for pitching and producing graphics for that section.
Staff illustrators will work for either The Eye or Opinion. They will be responsible for pitching and producing illustrations for a specific columnist or writer within their respective section.
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.
The Features Editor is responsible for overseeing all reported features (~3) published each week. They directly supervise all zone editors and oversee 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 features 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.
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.
The Ear Executive Editor will be responsible for leading the Ear team and steering The Ear’s content and sound across the entire production cycle. Prior to the beginning of the semester they will recruit writers for each week’s podcast, edit their story plans, lead any necessary training, help writers shape their collected media into a script and then edit the script, and provide critiques of the cut-together podcasts. The Ear Executive Editor will take a lead on developing engagement initiatives for the podcast and will report to and work directly with The Eye’s editor. The Ear Editor oversees all Ear trainees.
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.)
The Art Director will be responsible for defining and maintaining a visual identity for The Eye. This entails coordinating illustrations, graphics, photo, and layout to make the magazine's brand distinctly recognizable. The Art Director will work directly with each writer and editor, as well as the illustrator and/or graphics designer and/or photographer assigned to the piece to develop a cohesive visual concept. They will also lay out a monthly print version of highlighted work to be published online. They will create and implement a Style Guide for colors, themes and motifs that will reoccur in Eye visuals, and will report directly to the Eye’s managing editor.
The associate lead story editor, along with the deputy lead story editor, will be responsible for overseeing the development of The Eye’s weekly lead story. The associate lead story editor will work closely with the lead story writer during pre-reporting to help shape them shape a clear, pointed, and feasible angle, which will be brought to the lead story editor for approval. They will be primarily responsible for keeping the lead story writer on track during the reporting stage through the regular establishment of clear micro-deadlines and will serve as the primary point person for reporting dilemmas. The associate lead story editor will work with the writer to develop a detailed outline and do first-round edits on all drafts. They will also work closely with visuals teams to ensure the coordinated development of high-quality and relevant accompanying visuals.
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.
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.
The Executive Producer is in charge of leading the sound production process for The Ear. They set the sound of The Ear and are in charge of training Producers. They will also often produce individual episodes.
Producers are in charge of the sound production for individual episodes. They will edit episodes using state-of-the-art audio editing software. They will also play an integral role in determining the sound of an episode, advising reporters on sound choices, and working from reporter's string-outs to assemble final episodes. They will work on episodes on a rotating basis.
Reporters for The Ear will operate as Eye reporters with a primary focus on reporting and writing 20 minute historical stories for the podcast. Like any other Eye reporter, they will be able to write for other Eye formats.
Eye staff writers are responsible for pitching and writing at least one feature per issue. Eye staff writers report to the Features 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 pitch meetings, staff meeting, and work in the office during production until the editing of their feature is complete.
The Head of Product is responsible for developing and managing the platforms and technologies that Spectator uses to deliver information and services to the Columbia community. (S)he is fully responsible for delivering the best possible user experience to the Columbia community through an understanding of its needs, and oversees conceptualization of all new tools and services. The Head of Product also works with the Spectrum Editor to shape the vision for all of Spec’s products to ensure that service journalism is kept at the fore. . As the chief executor on the product end, (s)he is therefore involved in every step of product management, including conceptualization, planning, execution, and quality assurance. (S)he serves the liaison between the product team and the rest of the Managing Board whenever any sort of changes need to be made to our digital platforms, and sources from the expertise of other section leaders to create the best products possible. The Head of Product oversees SpecTech and Product Design. As a member of the Managing Board, the Head of Product sits on the Editorial Board.
The Lead Product Designer interacts with the other sections of Spec Tech to create intuitive designs for Spectator products. (S)he is responsible for coordinating a team of designers to design all web apps and mobile applications, as well as pages for the CDS website and interactive content. (S)he will coordinate with technical leads to ensure that designs are technically feasible. (S)he will also assume responsibility for coordinating visuals for certain CDS-facing initiatives, like interactive content, liaising with design and photo as appropriate.
The Product Designer is expected to work to develop mockups for all Spectator services. Product Designers will usually be assigned to work on one product for a long period of time, developing a close relationship with that individual product. They will balance the priorities of giving each of Spectator’s products a unique visual identity with an understanding of Spectator’s larger visual coherence.
The Senior Product Designer is expected to fulfill the responsibilities of Product Designers. However, they are also expected to serve as mentors for other Product Designers as well as Product Design trainees.
The Associate Developer works on projects of choice within Spec Tech. They will be able to choose or jump between projects within SpecTech as they choose, and as demands necessitate. This position is best for someone who is still developing their skills as a programmer, and wants to learn about a number of different areas or hone their skills in one.
The Senior Developer is expected to fulfill the responsibilities of Associate Developers. However, they are also expected to serve as mentors for other Associate Developers as well as SpecTech trainees.
The Director of Revenue is responsible for generating the majority of Spectator's annual revenue. (S)he generates revenue through advertising sales, securing full value of our portfolio of publications, products, and events, and through fundraising from Spectator's alumni and friends. (S)he optimizes how Spectator's portfolio is monetized, thinks critically about delivering maximum value to our clients, and outlines and implements new initiatives to sustain student revenue growth year over year. The Revenue Director is responsible for securing the capital backing behind Spectator's long-term expenditures, such as funds for work-study and SpecTech. As part of his/her alumni relations duties, the Revenue Director plans the Columbia Daily Spectator Annual Awards Dinner and directs alumni engagement initiatives.
In addition to operational duties, the Revenue Director is responsible for developing his/her staff. The Revenue Director helps managers develop capabilities in management, strategy, goal-setting, and workflow design; helps associates master interpersonal skills, develop business sense, and improve judgements; and helps trainees develop core skills. As a leader, the Revenue Director is responsible for embodying and spreading Spectator’s mission, building staff culture, establishing values, and planning bonding for the Revenue section. As a member of the Managing Board, the Revenue Director attends Managing Board meetings and sits on the Editorial Board.
In addition to the responsibilities of a Sales Manager, a Senior Sales Manager is responsible for launching initiatives across the organization which can generate large sums of revenue. S(he) must have excellent motivational capabilities to rally individuals behind initiatives and projects which can benefit the organization. (S)he is responsible for Spectator's relationships with its extensive alumni network as well as all fundraising activities. (S)he devises strategies for cultivating our alumni base to strengthen the Spectator community and facilitate mentorship between alumni and current staff. (S)he plans structured, goal-driven fundraising campaigns, soliciting donations from both Spec alumni, Columbia alumni, and any other relevant parties. The Senior Sales Manager is responsible for helping Sales Managers and Associates improve their brainstorming, critical thinking, attention to detail, and communication skills.
The Sales Managers are the primary drivers of operational revenue, and they ensure operational excellence within their team. They are responsible for developing strategies for outreach priorities and pitch development for their assigned sectors, products, and/or events. Managers should establish a strong sense of camaraderie among their associates and should show a strong attention to detail. (S)he also must be able to problem solve, adapting pitches and sales methodologies to overcome any changing trends in the industry or specific difficulties that may arise.
In addition to operational duties, the Managers are responsible for helping his/her associates and trainees master interpersonal skills, develop business sense, and improve judgements. Sales managers are responsible for cultivating a strong sales culture with clear values that reflect the team’s personality and Spectator’s mission.
The Sales Associate comprise the specialized task force that lives and breathes advertising sales. A Sales Associate should be an expert in pitching, requiring a strong mastery of persuasive techniques and an understanding of Spectator's ad products to optimize packaging.
The Spectator Brand Studios Manager is responsible for leading SBS meetings and guiding the team to ideate and create excellent sponsored content pieces. S(he) has excellent interpersonal, time management, and content-creation abilities, and ensures that SBS pieces satisfy our client's, our audience's, and the SBS team's expectations. SBS Managers will be responsible for working directly with SBS stakeholders (CB, Product, Revenue, and Spectrum), to ensure that pieces are created and uploaded in a timely manner.
Spectator Brand Studios Associates are responsible for ideating and creating sponsored content pieces. S(he) is responsible for working with clients both individually and with other SBS members to quickly draft content ideas and elements which would best highlight the client––without creating "written ads."
The Director of Engagement takes ownership over the reach and usage of Spectator's publications, products, and events and manages the Spectator brand. (S)he skillfully uses data about how our users and readers interact with Spectator to make informed decisions to develop Spectator's audience and to provide feedback to content producers to improve our services. In short, the Director of Engagement not only maximizes the reach of Spectator's work, but (s)he also ensures that each interaction our readers and users have with our products are highly engaging. (S)he also handles recruitment of new staff at the beginning of each semester. As a member of the Managing Board, the Staff Director sits on Spectator's Editorial Board.
The role of Engagement Manager is a generalist role that takes responsibility of organizing and leading projects in each of the three Engagement sections: Marketing, Audience Insights, and Data Analytics. They are expected to plan and lead meetings, conduct one-on-one check ins with associates and trainees, and prepare a training program for incoming trainees. They will work closely with the Engagement director or equivalent and should be prepared to work with deputies of other sections.
Engagement Senior Analysts are required to have at least 2-3 semesters of experience in Engagement. They have developed a deep interest in their specialty and are seeking independence in leading and executing projects in their field and across sections. Senior Analysts effectively communicate with MB/DB to update them on their projects and make requests for any associate staffers they may need.
Engagement Analysts are equipped as generalist analysts in the areas of Marketing, Audience Insights, and Data Analytics. They analyze both strategic and data-based problems in marketing our events and products, understanding our audiences, and deriving insights from data. From this work, they develop a deeper understanding of the Columbia community and their interests, needs, and habits. They staff a variety of team-based projects and have the critical skills needed to approach and tackle ambiguous or broad tasks.
The Spectrum editor leads Columbia University’s most innovative service journalism initiative, Spectrum. (S)he, working with the Publisher and Managing Editor, is a thought-leader for creative, multi-platform content that addresses the needs of Columbia students. To achieve this, the Spectrum editor must have a solid reporting background, manage and facilitate collaborations with other Business & Innovations directors and managers, and work closely with the deputies to determine how content should be packaged within or as products, events, and marketing campaigns.
The Spectrum editor is responsible for doing the final read/round of edits on all content before it is presented to CB and must be present in the office during production nights. (S)he also plans and executes staff training and provides regular feedback to all staff members, as well as leads content planning meetings during the day.
Finally, (s)he ensures the quality and efficient production of the daily Wake Up Call, Spectrum’s newsletter. This involves constant training, personalized staff development, and strong communications within the section and across Spec.
As a member of the managing board, the Spectrum editor is a member of Spectator’s editorial board.
Deputy Spectrum editors oversees the daily operations of Spectrum and is responsible for being a thought-leader for a subsection of content, a zone, that is geared toward addressing major issues, such as lifestyle and health and wellness. The deputy also oversees a pod of staffers, which may consist of B&I product designers and developers and Spectrum content creators, who collaborate in order to make high-impact content. Spectrum deputies also work with other sections like Design, Engagement, Photo, and Copy to ensure that content is as beautiful, accurate, and well-marketed as possible.
Deputies participate in daily production and write and publish the Wake Up Call newsletter to the website, Mailchimp, and Facebook 1-2 times per week. Deputy editors meet regularly with the Spectrum editor to report back on pod activity, plan pitches ahead of pitch meetings, plan staff development initiatives, and collaborate on feedbacking published content. From an editorial perspective, they do the first-round of edits on pieces, websave articles, and schedule social media posts twice a week with the editor. In pitch meetings, are responsible for curating comprehensive story ideas from their specific zone and ensuring that staff members are contributing and executing stories properly.
From a staff management perspective, the deputy editor is responsible for leading and training their staff and imbuing staffers with a thorough understanding of the Spectrum mission.
Spectrum staff writers make creative digital projects come to life, while also building a strong foundation in front-end development, design, reporting, and digital media. Spectrum staff writers work with designers and developers in pods centred around beats. Within each pod, they are responsible for the written content of all projects and work with their pod, deputy editor, and editor to create high-quality content packages. Spectrum staff writers manage long-term projects that require in-depth reporting, research, and pod collaboration, as well as occasional shorter-form pieces.
The Staff Director is responsible for providing staff with substantial support in carrying out their roles by developing a strong sense of community within the office and providing resources for staff members. While the staff director works closely with the corporate board and the managing board, this is a position that requires strong relationships with staff at every level of Spectator, from trainees to deputies. As such, the staff director should have a strong understanding of every section in Spectator, and the history of the organization as a whole.
The staff director functions as the human resources department of Spectator, serving as a confidential source for staff concerns including but not limited to work related stress, managerial disputes, discrimination, sexual misconduct, and mental health concerns. The staff director should meet with those that require support as well as check in with members of the managing board to ensure they are adequately supporting their staff. The staff director is responsible for organizing org-wide training for Sexual Violence Response and Gatekeeper Training. Additionally, the staff director handles all off boarding procedures. They also assist CB in administrative and IT operations including but not limited to Camp Spec, emails, and Slack accounts.
The staff director is the primary planner of social events. They are expected to—with aid from MB and CB—plan and organize Spectails as well as other org-wide bonding events throughout the year. They should maintain strong connections with alumni and organize alumni engagement initiatives. Additionally, the staff director should keep staff apprised of the professional opportunities available to them as members of Spectator, and work to support staff in their professional endeavors through networking.
As a member of the Managing Board, the Staff Director sits on Spectator's Editorial Board.
The deputy staff director is responsible for assisting the staff director with all events and alumni engagement. They are expected to coordinate and maintain the social calendar for Spectator, including Spectails, and create a strong sense of community within the organization. The deputy staff director works closely with every section and managing board member.