Welcome to Future Talks by RTF, a captivating platform where we delve deep into the minds of visionaries who breathe life into design stories. Our host for this enlightening journey is none other than the eminent Peter Sobchak. With an impressive career spanning two decades, Peter has been at the forefront of discussions surrounding design, architecture, and real estate development in Canada.
As the Editor in Chief of Canadian Interiors and Building magazines, Peter has been a prominent voice in shaping the discourse around these vital subjects. His insightful writing has transcended borders, gracing the pages of publications in countries like England, Germany, the Netherlands, China, and more. His exceptional work has been recognized with several National Magazine Awards, solidifying his reputation as a thought leader in the field.
Peter Sobchak’s influence goes beyond the written word. He has shared his expertise as a guest lecturer at esteemed post-secondary institutions in diverse global locations, from Torino to Warsaw and his home city, Toronto. His teachings have illuminated the path for future generations of design enthusiasts.
But Peter’s contributions extend even further. He has ventured into the realm of television, where he served as the host, writer, and producer of “Building Toronto,” a captivating limited-run series that graced the screens of Rogers TV, providing a unique perspective on the city’s architectural landscape. And in our ever-evolving digital age, he continues to inspire and educate as the host and producer of the thought-provoking podcast series, “Bevel: Canadian Interiors Conversations,” accessible on popular streaming platforms like Spotify and Apple Podcasts.
RTF: Hi Peter, We are glad to have you as a guest on Future Talks by RTF. Thanks for joining us. What does the balancing act of working with Building Magazine and Canadian Interiors look like?
Peter: Thankfully the two titles are thematically linked, in that they both cover the built environment. Building takes a wide-angle view of the urban sphere and looks at architecture and construction trends, challenges and strategies shaping modern city building and urban development. Canadian Interiors zooms in and focuses on the interiors of buildings by discussing the aesthetics and functionality of interior design, interior architecture, space management, and product and furniture design. So when material comes to me, particularly project submissions, I am considering various facets of the project and decide which publication it best fits. In essence I am wearing one hat but with two brims. It would be much more strenuous for me if one of those titles was in a completely different industry, say, for instance, mineral extraction.
RTF: How do you look at the interests of advertisers in publishing? What is the ‘acceptable’ amount of influence that you let in?
Peter: There is no standard metric that the idea of “influence” is measured against. It very much is a case-by-case situation. Generally, advertisers know what we allow and what to expect, so there exists a fairly balanced ecosystem. For those who approach us or whom we approach who are more, shall we say “dynamic” in their asks, my publisher manages those. As Editor I rarely need to get involved.
RTF: What are some challenges that general exchanges with architects and designers present?
Peter: Just as not everyone can design and build a building, not everyone can tell a good story. A primary part of my job is to work with those who are doing interesting things in the built environment find a way to tell their story so that it resonates with an audience – an audience who may not have the depth of technical knowledge that the subject has. But I don’t see it as a challenge: in fact, it is part of what I love doing. Finding places of understanding and then communicating that understanding clearly, effectively and in a way that it leaves an impression is the job of a good journalist.
RTF: How has social media impacted the content strategies for magazines?
Peter: I can’t speak for every magazine, but I can say for us the impact has not been in the way many might think. For example, we have not changed how we tell stories to match a certain platform – I don’t think “how can I best Instagram this story?” Fundamentally social media is a way for us to engage with practitioners in the design industry (who are our readers) and keep an eye on what they are doing, but we still employ the same strategies when it comes to the core elements of research, writing and crafting a good story as we did before social media came around.
RTF: How relevant is the idea of “learning constantly’ in the industry that you are a part of?
Peter: It is incredibly important, not just for building a set of tool-based skills but for building how one thinks of and sees the world. As Henry Ford once said, “Anyone who stops learning is old, whether at twenty or eighty. Anyone who keeps learning stays young.”
RTF: What would be your tips for young professionals wishing to enter the fray of editing and publishing?
Peter: One of the more distressing things I see happening among the younger cohort of writers is a misplaced emphasis on speed over quality. Social media has something to do with this, I think: the urge to post a piece as fast as possible to “feed the beast” and then hope engagement metrics start rolling in. But upon closer inspection the piece is badly written and riddled with mistakes in things as basic as spelling, punctuation, and grammar. I think because everyone these days is willing to accept badly written emails and social media posts it has begun to percolate into article writing. To that I say: content creators should quality control everything they create and review it at least twice before posting or presenting to your editor.
Secondly, journalists must always maintain a critical eye on everything they receive. By “critical” I mean don’t trust anything at face value. To be fair, I am not saying they should expect everyone to be liars. Instead, they need to understand that everyone has an agenda: from the PR agent pitching their client as a “worthy story to cover,” to the “expert” you are interviewing. Press releases are packed with bombastic language designed to sell a client, but obviously not everyone can be “the nation’s most preeminent architect.”
RTF: We would like to get your idea of a good pitch and how you differentiate between a ‘positive’ and a ‘negative’ approach from the writers and architects.
Peter: The first and most basic principle of a “good” pitch is when someone takes the time to understand the focus and preferences of the media outlet they are pitching to. Blanket pitches sent out to massive media lists do not get very far. For example, I focus on the Canadian A&D market and my readers are Canadian design professionals, so I am going to ignore a pitch from a PR agent repping an American client who only does work in the U.S.
Secondly, the writer or architect should always ask themselves first “what is unique about what I am pitching?” Just because you made something doesn’t mean it is noteworthy. Help us identify the angle that will underpin the story that will make readers want to read it. If you are going to pitch something, think like the reader.
RTF: How do you look at the media kit? What makes it comprehensive?
Peter: A comprehensive media kit from an architect or interior designer promoting a new project should contain: a clear and engaging write-up about the project; a suite of high-res photography showcasing the project; bios of the principals and the firm itself; a full credits list of contributors/partners; a suppliers list of the key products/materials used in the project.
RTF: What do you think about the media landscape today, and what is the route for magazines and publications going to look like in the times to come?
Peter: The “death of print” has been predicted for years yet hasn’t arrived. Nor do I think it ever will. People will always like the tactile and visual qualities of magazines, particularly design magazines with lots of beautiful images the quality of which is lost on a cell phone. That said, I have several colleagues in the B2B publishing world that transitioned from a print product to an online one, won’t go back and nor should they. Not every media product needs to exist in print. Strategically, magazines should realize they are part of a media ecosystem and tap into other mediums that will help build their brand. Podcasts are a good example: journalists have been audio recording interviews on devices for ages, and it doesn’t take much to adapt those recordings into a podcast.
RTF: What is your approach towards writing like? And how has it changed with time?
Peter: In my early days, as with all writers, I was in love with my words. But over time my style has gotten leaner and leaner. I remember Elmore Leonard once saying “Try to leave out the part that readers tend to skip. Think of what you skip reading a novel: thick paragraphs of prose you can see have too many words in them.” The same tactic applies to magazine writing. To quote another great writer, George Orwell: “Never use a long word where a short one will do…. If it is possible to cut a word out, always cut it out.”
