Editors at Work: Suburban Life

Theodora Malison, ’15, ’16 M.A., is the managing editor of Suburban Life magazine.

What are your responsibilities as managing editor?

Basically, my job is putting the whole book together. I work very closely with our editor in chief as well. My job is a lot of writing about different topics whether it’s fine dining, education, home improvement, health and fitness, and luxury living. I also manage the photography aspect of the publication. Because we distribute to four different regions, I have to pick all 25 magazine covers.

 What does it take to be a good editor?

Anybody who works in publishing or journalism is constantly on deadline. Going into my second year, I’ve learned a whole different level of patience, whereas when I first started I used to be in panic mode. You can either panic, or you can sit back and realize this is the nature of the industry. To be a good editor, you not only have to be a good writer but you have to have a certain level of patience and you have to be level-headed because things are going to get crazy here and there.

What surprises you most about managing a magazine?

 I’m actually always surprised at how we get a magazine out every month. We have an editorial meeting twice a week, and we always have a game plan for how we want to execute things, but nothing ever really goes to plan.

 How do you approach stories when you know nothing about the topic?

 When I first started with Suburban Life, my first story that I was assigned was on mold remediation. I didn’t know anything about mold remediation—I don’t even own a home—so sometimes you sit there and think what am I going to do? But again, you’re a journalist. It’s all about doing your research. When I got this mold remediation profile, I had to do a lot of research into this guy’s business: what areas he serves, what mold remediation was, what mold is toxic for you. You find out so many different things. We joke around at work and say we’re all like Snapple caps because we always have these random facts we know about things. It can be stressful, but if you have an open-minded approach, you’re going to learn something new, and everything will be okay in the end.

You worked as a magazine intern while you were a student at St. Joe’s. Now, you are in charge of interns. How do you measure whether an intern is up for an editing task?  

Basically, like they say, you never know until you try. If I throw something at them, I’ll tell them to mark up the page, and if I see they’re getting things, then I know they’re on their way to being capable of handling larger responsibilities. But the reality is that we’ve had interns who haven’t gotten that far. If you see them missing basic grammatical errors or their writing isn’t up to speed with what we’re looking for, then we know they’re not ready. But it’s not to say you can’t help them and push them there. And that’s what I ultimately try to do: Push each intern that comes in to really put out their best work.


Suburban Life offers internships at its Marlton, New Jersey, office. For additional information, email Teddy Malison at tmalison@suburbanlifemagazine.com.

           —Robert Cusella, ’14, ’19 M.A.


Editors at Work: Motivos

Jenée Chizick-Agüero is the founder and publisher of Motivos, the nation’s largest bilingual magazine with youth-generated content.

What led you to start Motivos?

My parents are both educators. I didn’t see myself as someone with classroom discipline skills. Philly public schools are hard! But I wanted to impact youth. I wanted to help them reach their full potential.

Why did you decide to focus on the Latino community?

 In my [graduate] thesis, which was all about addressing the academic achievement gap amongst Latinos in the U.S., a lot of it was based on self-esteem. People are pushing down on your language and your culture, and they’re telling you you’re not good enough, so there’s this disparity, this difference in equity. Starting with culture and lifting it up kind of starts to even the scales. It’s really, really important to empower underserved communities, communities of color, with that knowledge, with that power, to be able to tell their own stories and bring light to the positive things that are happening because that’s not always shown or told in the mainstream media.

What does Motivos mean?

It comes from motivation. We’re always teaching students that why you did something is more important than what you actually did. If you know why you’re doing it, that will drive your decisions. And if you face things in life that are challenging, you’re going to know if it’s a yes or no because you know why you’re doing what you’re doing. You know what your future goals are. We teach them to identify their passion and connect it with a purpose to strategize for a future they see themselves in.

How do your young readers benefit from the content that Motivos offers?

Students benefit because they can get near-peer role models. They get internships and fellowships. They can get published and that goes in their resumes for college. We’ve been to national conferences. We’ve traveled internationally to build schools in Honduras. We did a cross-cultural exchange to Columbia, South America. We try to get the kids out and about. Parents benefit because they’re super proud of their kids. They’re so excited that their son or daughter is being highlighted for something positive that they’re doing.

What’s the best part of your work?

 It allows me to help youth reach their full potential and to shine. Just the feedback of “no one ever told me I could do this”: That is my mark of success. Before I ever started, I thought, what is my mark of success? If I know I impacted at least one life, then I’m on the right track. We tell students, “You don’t know who’s reading your story and whose life you’re going to change. You’re making an impact.”


Motivos accepts submissions in English and Spanish from high school students, college students and other adults. Volunteers are also needed to assist with editing and with writing workshops. For more information, fill out the contact form on the Motivos website.

–Michelle Histand, ’17, M.A.

Editors at Work: The World Bank

Bassam Sebti, M.A.’08, is the web and social media editor at The World Bank.

How did you end up at The World Bank?

After I graduated from Saint Joseph’s University, I got a job at a nonprofit organization in D.C. and became the editor of a multilingual website. A few years later, I landed a job at a news website that focuses on fighting terrorism and extremism, but I still wanted to continue exploring other opportunities. I was finally able to find a really great opportunity as a social media editor and web editor and writer for The World Bank in Arabic. To get there is a bit difficult, and it requires exams, a lot of interviews, background checks, so it took them about eight months to offer me the job, which is actually considered expedited. But it’s the biggest financial institution in the world, and there are thousands of people who work there.

What are your day-to-day responsibilities?

I am the Arabic web and social media editor, so I read articles before they’re published in Arabic and I sign off on whether they can be published or not. I also assign content to the home page and news pages of The World Bank’s multilingual website. I develop the social media messaging strategies for the Arabic service on Facebook, Twitter and Instagram. Because of my writing studies degree, I also have the opportunity to write blogs and feature stories in English and manage The World Bank’s Flipboard account, which is a news aggregator app that we use to create magazines about specific topics. In addition, I manage Road to Refuge, a website that belongs to The World Bank. Road to Refuge is a platform on what The World Bank does regarding forced displacement issues like the refugee crisis. I manage that platform in English and in Arabic.

What editing challenges do you encounter on social and digital platforms?

The first challenge is that I am not currently living in the Middle East or North Africa. However, that doesn’t mean I can’t keep up with what’s going on there. The good thing about social media is that the trends are global, but the global aspect of social media can only help so much. There will always be a time difference, so I must also keep up with timing in specific regions when I post or schedule content on different social media channels. The other challenge is continuing to understand the Arabic-speaking audience. Things are changing quickly in the Middle East and North Africa. Some places are getting worse. Other places are getting better. The challenge is keeping up with everything happening and changing.

On Twitter, how do you convey complex issues in 140 characters or less?

This is where my role comes in to provide the whole package to the user in one tweet. For me, the web complements social media and social media complements the web. Sometimes you can’t have a tweet without a link in order to ensure that tweet makes sense. In this case, as a social media manager, you have to really comprehend what the story is about so that you get the user to click on the link to learn more about what you posted in that tweet. It’s all about strategy, getting creative and using visuals. We use a lot of visuals when it comes to Twitter, like videos, gifs, infographics and data charts because we work in the development field and conveying information on the economy and business development needs a lot of creativity.

How much of what you do now did you learn on the job?

When it comes to social media, I learned it by practice. As a social media manager in my first job in the United States in 2008, I continued to learn about online publishing and social media publishing. I started attending conferences and workshops about keeping up with the latest social media trends. What I found at my current job is if new strategies work, they work. If they don’t, that’s all right, too. It’s all part of innovation.

Do you find yourself using any skills you picked up in the writing studies master’s program here at St. Joe’s?

A lot of my writing and editing is inspired by what I had learned in the program, and it made me get to where I am now as a writer and editor at such a big organization like The World Bank. I am also mostly interested in highlighting the human side of the story, which is something I learned a lot through the program. Humans give context to the content. For example, at The World Bank, we have a lot of reports and data related to development that sometimes people find too hard to understand or even relate to. In my writing, I make them relate to that by connecting the data with the human side of the topic. People relate with people more than they relate with numbers.


The World Bank lists program and internship opportunities on its website.

—Teresa Tellekamp, ’16, ’19 M.A.

Editors at Work: Organic Life

Gina Tomaine, ’10, is associate deputy editor at Rodale’s Organic Life. While an English and economics major at Saint Joseph’s University, she wrote for The Hawk and for Crimson and Gray. She received an M.F.A. in creative nonfiction from Emerson College in 2013.

How did you find yourself at Organic Life? 

I began at Rodale’s Organic Life in 2016 as a lifestyle editor for their Organic Life Magazine. Now, as associate deputy editor, I produce and assign the media for the digital platform that has taken the place of the traditional print magazine.

What are some of the challenges of shifting from editing a print publication to editing an online publication?

Learning to navigate the challenges that come with publishing to a web page rather than the traditional media we have been used to for so long has been an ongoing issue for legacy media brands like Organic Life. For example, well-designed stories meant to be read as articles are now condensed to web page layouts viewed on an iPhone, tablet or laptop screen. It not only changes the aesthetics and feel of how the article is meant to be seen and read, but it can, in some ways, change its interpretation, too. In the past, publishing for print meant long meetings, planning and design sessions, and more investment in each individual story. Because we simply don’t have the time or platform any more to invest in an entire spread, we dedicate our time to individual pieces with catchy headlines in hopes that people will click and read. This is the strategy most media brands have adopted.

How often do you publish?

It used to be six times a year, and now it’s six times a day. Each piece is allotted time for one round of edits. The benefit of publishing to an online platform is that you have the ability to edit in real time after the story goes live. Publishing at this pace is difficult and definitely not the best way to do things. However, the demands of the industry have changed, and we are still figuring out how to meet those demands while sustaining the integrity of the brand.

How has editing impacted you as a writer?

Though I have always seen myself as more of a writer, taking on an editorial role has allowed me to step back and realize the mistakes that I am making in my own writing. Editing has improved my ability to write by helping me truly focus on the content and attention to the details that enhance the piece.

What is the most rewarding thing about your job?

It’s rewarding to work in a creative field full time. I also truly appreciate the content that Organic Life publishes because I enjoy and support the brand’s mission—sustainability. The content we produce is useful, engaging, and encourages sustainability from our readers. I also get the opportunity to work with a multitude of writers, many of whom are extremely grateful and excited to write a piece for the magazine.


Click here for more information on spring, summer and fall paid internship opportunities at Rodale.

—Anna Boyce, ’17


Editors at Work: Billy Penn

Shannon Wink is managing editor of Billy Penn, an online-only Philly news website.

How did you get into journalism?
In eighth grade I decided I was going to be a journalist, kind of out of nowhere. I worked at my high school paper, which was not very journalism-based at all. I declared my major as journalism when I got to Temple. I really liked writing, so I thought I’d do the journalism thing, and when I got to Temple, I realized that journalism was a million different things. It’s not just writing. It’s interviewing and reporting, and it just so happened that I enjoyed all of that stuff and was good at it.

What makes Billy Penn different from other news outlets in Philadelphia?

We are designed to look super nice on your phone, and totally fine on your desktop, the idea being that we’re trying to reach a younger, more mobile audience.

What about content?

We try to do things that are a little bit more explainer style— the whys and the hows— and not necessarily chasing stories. We only have three reporters, and their job is also to curate the news. They take shifts on Twitter—they’re adding the curated links to our site—so they do not have time to go to the press conference that everyone else is going to in the city that day. We can link out directly to other news sites.

What is your typical day like?

I usually start between 6 and 6:30 a.m. We do a daily newsletter, so reporters will file their stories, and then we look around for other things to curate. I try to put some of it together the day before. Then, the morning of, we’re looking for fresh stuff to put in there.

I get to the office around 9 or 9:30. Unless there’s breaking news, that’s the slow time when I can either catch up on email or circle back on a longer story that we’re working on and do some edits on that. By the time 2 o’clock rolls around, we’re getting ready for the next day.  We have a month’s worth of stories planned out at any given time. All of that stuff is due a day or two before it’s supposed to run, so we’re prepping all of those stories, so the next morning we can focus on whatever it is that we’re going to cover that day. The middle of the day is whatever Philadelphia can throw at us that day.

Who is your competition?
If you’re in Philly (or interested in Philly) and you have 10 minutes to spare, we want you to spend those 10 minutes with us— not with the Inquirer, not taking a Buzzfeed quiz, not playing some dumb game on your phone.


Billy Penn offers paid editorial internship opportunities for qualified candidates who can produce written and multimedia content. Pitch-based freelance opportunities are also available.

   —Sean Woods, ’09, M.A. ’17

Editors at Work: Assay

Karen Babine, Ph.D., is founding editor and editor in chief of the online journal Assay: A Journal of Nonfiction Studies. She is author of  “Water and What We Know: Following the Roots of a Northern Life” (2015). 

As a writer, editor and teacher, how do the different roles in your career benefit, or conflict, with one another?  

The glib answer is that they all feed each other for me. For my own writing, I tell my editor, ‘I love to be edited.’ I’m a writer who likes to have someone look at my writing and say, ‘I see this thing. Push this a little harder. Back off on this.’ You stare at something long enough, you can’t see anything in your own work.

My role as an editor is to not trample on the writer’s vision or what they plan to do with that piece, especially when it comes to the magazine. We get a significant number of pieces that are lectures. We don’t want lectures. We want written documents. I need to ask writers to revise the oral quality out of it.

What is Assay’s overall mission?

Assay’s mission is to be an open and welcoming community for all nonfiction writers across disciplines. We exercise that mission by kind and clear communication with writers; absolute respect for our submitters in our treatment and response to their manuscripts, which includes not only our respectful approach to rejection letters and the feedback they contain but also timely return of their manuscripts; and respect for writers of all experience levels, from undergraduates through senior scholars. All are welcome in Assay’s pages. In many cases, nonfiction writers are the only one in their departments, which can feel lonely and isolating. By having the journal online, by creating a space for pedagogy where we can share syllabi, ideas, etc., we work towards a stronger nonfiction community inside and outside academia.

Assay aims to fill a gap. So what are some of the reasons for that gap? Why has there been such a reluctance, or unwillingness, to study creative nonfiction in a traditionally academic and scholarly way?  

CNF has been studied in a scholarly way in composition and rhetoric for decades, even studied to a degree in literature, but rarely. The creative writing community hasn’t studied it in this way for a few reasons I’ve determined: The first is that the M.F.A is an art degree, not a scholarly degree. While we study the work we’re reading for what it can teach us about writing, the purpose of creative writing is to create new work, not to spend our time writing on other writers’ works. My own M.F.A, though, required literature courses in one’s own genre, taught by the creative writers, in addition to workshops, that really shaped how I think about nonfiction as a whole. To write it, without studying it, seems like missing the full experience.

This lack of publication space was the main impetus for Assay’s existence. We saw the work being written without any place to publish it. We saw this work being taught without any place to discuss the pedagogy of it. We wanted to move beyond lore to create a theoretical space, simply another way to discuss the creative nonfiction we read and write.

Who are some nonfiction writers you’re currently reading?

I’m reading some eclectic stuff right now: Brian Fagan’s “Elixir,” about water and civilization (Water is a huge element in my work, and I loved his book “The Little Ice Age.”) I’m rereading Paul Gruchow’s “Boundary Waters,” as I do every summer. I’m rereading Brian Doyle because he passed away recently, and he’s on my mind. I’m in “The Wet Engine”  right now—partly because I want to read him, partly because I want to see what he’s done with a short book comprised of short essays. I’ve been kicking around this idea of analyzing his use of verbs because I’ve noticed over the course of his work, he uses them in a very specific way, and interesting way, to my mind. Assaying Doyle in this way, getting down to the elements of his work, I hope will illuminate for me one of the ways that makes his work so affecting. But like any essay, I don’t know the answer to the questions in my head, and so I don’t know where that piece will end up.


The easiest way to get involved in the Assay writing community is to submit something either to “My Favorite Essay to Teach” or to “Writers to Read” in the journal’s In the Classroom section. Further information about writing and editing opportunities can be found here.  

–Stephen Jenemann, M.A. ’18

Editors at Work: U.S. Institute of Peace

Viola Gienger is a senior editor at the United States Institute of Peace in Washington, D.C.

What does the United States Institute of Peace do?

It’s one of the institutes in Washington that is both a research institute, like a think tank, but also does a lot of programming on the ground in conflict zones. So our brief is to try to prevent violent conflict and mitigate it when it happens. We work in all of the major conflict zones, Iraq, Afghanistan, Libya, Tunisia, Pakistan, [and in] Colombia we are very heavily involved in supporting the Colombian peace process.

What does your job entail?

I’m a senior editor and writer, which means that I handle all of the articles and analysis that go on to our website, except for our publications like special reports, peace briefs and so forth which are handled in a different department. But I oversee the editorial quality, editorial content, coverage of events that we have in the building [and] discussions on major issues.

How did you got your start?

My career in journalism started largely because biomedical engineering turned out to not be for me. I spent a lot of time while I was at university getting practical experience. I worked at the student newspaper, worked at the student literary magazine, and then I got an internship with my hometown newspaper.

I moved to Britain for a couple of years for personal reasons and worked at a computer magazine there for a while until I found a position at AP Dow Jones. I got a fellowship with the Knight International Journalism Fellowship program and went to Eastern Europe for six months and just learned so much and was so interested in that field I decided to stay over there and ended up seven years in Eastern Europe, living in Belarus and Poland, and four years in Bosnia. I got back into foreign affairs, national security and foreign policy coverage, and covered the State Department and Pentagon. I got to travel with the secretaries of state and secretaries of defense and with the press pool and cover some really burning issues on that beat. Then this position came up at the United States Institute of Peace, and I really couldn’t turn it down.

Is there any one project that has been the most important to you or you have felt the most proud of?

I’m very fortunate to say there have been many. One was in Bosnia. I got there a couple years after the war, and everybody there was adjusting to a new system with checks and balances, but there was still a lot of resistance to that, and the role of journalists as independent reporters and investigators was just emerging. The project that I’m most proud of there is working with local counterparts, who were really first-rate journalists themselves, as well as the leaders of the news media there. The publisher and owner of a relatively new newspaper there decided that he wanted to expand his newspaper, and we worked with him and he ultimately decided that he wanted to establish the first multi-ethnic, national newspaper in Bosnia, and he did that. Working with him and working with his team was really, really gratifying.


Current college students are eligible to be a part of the Research Assistant Program through the United States Institute of Peace. Recent graduates can also be hired as Program Assistants to various departments within the organization. For all job listings and to view current openings, visit http://www.usip.org/jobs.

—Katryna Perera, ’16

Editors at Work: TheAtlantic.com

Caty Green is managing editor of TheAtlantic.com. She was recently promoted from her role as assignment editor.

How did you get into journalism?

I actually didn’t get started in journalism until after college. I went to Bates College up in Maine and majored in rhetoric, so mostly I was studying speeches and different ways of persuading. I decided to go to j-school because it was another form of persuasive writing that I wanted to learn about, but I quickly discovered that grad schools for journalism typically want you to have some newsroom experience. Usually I don’t recommend grad school to student journalists if [they’ve] taken a lot of journalism courses during undergrad. I think you should just get right into the workforce. For me, it worked because I wanted more formal training.

What led you to The Atlantic?

While I was at Voice of San Diego, the executive editor at TheAtlantic.com, John Gould, got in touch with me. John and I set up a call, and we had a few good conversations about where I saw Voice of San Diego’s place in journalism and where I saw The Atlantic’s place in journalism—like what The Atlantic could be and what they could do to make a closer connection to readers. Kind of from our conversations, John and Matt Thompson, who’s the deputy editor [at TheAtlantic.com], created this job called the assignment editor. My main goals for the job were to broaden the pool of voices we were featuring and different kinds of contributors.

What will you be doing in your new position as managing editor?

It’s answering a lot of questions. I am kind of directing traffic within the newsroom. One thing I want to focus on is making sure that [the teams behind] our print product and our web product continue to integrate and continue to work together.

Do you have advice for young writers adapting to a new work environment?

The imposter syndrome is so real, and everyone has it. I was actually talking to a friend about this over the weekend. This job that I’m still just in training for is the first one where I don’t feel I have the imposter syndrome.It’s more like, Oh, this is what I should’ve been doing. But it always comes up, and you always question yourself or doubt what people see in you to have given you this job. Go into whatever situation, if it’s a job interview or a reporting interview, thinking “I deserve to be here” and sell it.


Atlantic Media offers a year-long paid fellowship program for recent college graduates looking for editorial and business careers.

—Katie White, ’17

Editors at Work: Cengage Learning (2)

Peter McGahey is a senior content development editor, focusing on physics and chemistry textbooks, at Cengage Learning.

What does your job as a content development editor entail?

When people hear editing, they think we’re looking line by line at what an author gives us and then moving forward. A lot of our job is taking the vision of the author, which is usually very localized to their students and their school and people in their discipline, and trying to create that into an item that can be used by students in every academic level and doing that for a national audience. I am involved in a lot of the drudgery of editorial work that you don’t realize is there. How much money can we spend on this? If the budget can only be this big, how are we going to distribute that through this? We are shifting heavily into digital platforms, especially in the sciences. They are a much more effective way to learn. All of this is happening before you have even gotten to the content that is going to be delivered to the customer.

How did you end up working with textbooks?

I took a bachelor’s degree at LaSalle University in English and philosophy. I was out of school for a couple of years and then went to the University of Connecticut for my master’s degree in English. Along the way, I had done a variety of different things in publishing. I came home from graduate school and ran into Ed Dodd, who I knew, at a barbeque for a police academy graduation. He told me that there was an opening at Saunders College Publishing. Here I am, nearly 20 years later. We all started out as editorial assistants, which back then was a lot of photocopying and moving paper around. Openings came here and there, sort of a zig-zaggy path.

What skills would someone going into development work need?

Attention to detail­, for one. Follow-through is also good. If we discuss a revision to a product family, you’ll ensure it is executed in the textbook, the online homework system, the instructor support books and PowerPoint slides, etc. Creativity is important. Whether it is words, art, animations or photos, the best way to convey a concept may require stepping back and determining a novel way to present it. Project management is important as well. There may be several dozen balls in the air at one time, and you can’t drop any of them. I want to see an ability to adapt. There are trends in education, and we need to recognize them and revise our content to accommodate them.

Do you recommend getting a master’s degree?

For educational publishing many people do graduate work first. You likely will feel underemployed with your master’s degree and a low-level job, but the upward path is much quicker with the degree. Some positions just won’t be possible without one when competing for promotions with people who have master’s and doctoral degrees. This decision also depends on the kind of publishing you want to get into. The situation is different in trade or periodicals.

So what should we be doing now?

For any publishing job, a goal should be to establish as much experience as you can as early as you can, volunteer work, internships, work-study, part-time or gig work, etc. Much of what you need to know to be a good editor is gleaned by doing the jobs, not taught per se.


Think you might want to work behind-the-scenes on those textbooks you use in class? Visit Cengage’s careers website for information about internship and job opportunities. 

Mark De Leon, ’17

Editors at Work: Weight Watchers Magazine

Katerina Gkionis is the associate managing editor of Weight Watchers Magazine.

How did you end up at Weight Watchers?

I decided in high school that I wanted to do some kind of journalism, so I did a number of internships. In the summer of my junior year in college, I saw there was a Weight Watchers Magazine internship. I had been interning at CosmoGirl and Seventeen, but I thought, “Hey, this is a smaller magazine. I’ll get more experience there.” So I applied and I got it. I did research. I wrote. I was able to do so much because it’s a smaller staff. When there was an opening as an editorial assistant there, I got that job, which I did for two years. Then I was assistant editor and associate editor and now associate managing editor.

What do you do as an associate managing editor?

My role here is very different from a traditional managing editor at a magazine. We had some restructuring last year, so I took over part of the production side of the magazine. I manage the workflow and deadlines to ensure that we ship the magazine to the press on time and also handle success stories content and fitness content for the magazine. For fitness, I pitch ideas, then work with writers who produce the piece. Then, I edit and send to my editors. For success stories, I find the Weight Watchers members, present them to our editors and write their stories myself. It’s an exciting job with many different tasks, but I actually prefer it that way.

What’s your strategy for keeping your content fresh?

That is always a challenge, especially with weight loss. We used to redesign the magazine every year because the topics were basically the same, and the issues that people tended to have were the same. So we had to find a different spin, right? It’s really about interviewing people, finding experts, looking in the news and always reading the latest studies that come out. Of course it’s hard because one day the research will say “Start eating butter again,” and the next day something else will say, “Oh, my god, butter kills you.” At Weight Watchers Magazine, we always read this website called Science Daily so that we can check out what’s new and fact check everything before putting content out. Every day, I get bombarded with press releases about a new expert or a new study or new guidelines, and that’s how we go about doing something fresh.

Does writing about health and fitness content spill over into your everyday life at all?

Yes, absolutely. I am constantly trying out new fitness classes, gadgets and apparel. It’s so fun to be on the cutting edge of fitness, and it adds variety to my workout routines, too. I am also inspired by members who are making healthy changes in their own lives.

Is it a requirement as a Weight Watchers Magazine employee to pilot the Weight Watchers program?

It’s not a requirement for magazine employees to be on the program. The company does, however, encourage employees to visit a Weight Watchers meeting so that they can understand the Weight Watchers consumer. Personally, the reason I was drawn to the company was from my own experience with Weight Watchers over the years. Most recently, I rejoined the program in January 2013, and I have lost 50 pounds since. It’s a program that I believe in and that I am proud of.


Be sure to check out Gkionis’ self-described “best work yet,” the magazines bare-all body image issue, which was featured on Good Morning America. For information on Weight Watchers Magazine’s summer internship program, visit JobVite.

—Samantha Puleo, ’16