Nicole Bogdas

Several months ago, David Wersinger, formerly of the Nashville Tennessean and Orlando Sentinel, made a move to the Daytona Beach News-Journal. But this wasn’t just any move, the man who had been in graphics for more than 20 years assumed the role of night news editor. Yup, that’s right, he started editing stories. Not that there’s anything wrong with that. Certainly, it’s proved to be good switch for him as he was recently promoted to AME/Accent. Congratulations! However, it gives us a unique opportunity to peer into what it’s like on the “other side.” David and I had an e-mail chat recently where he talked about his reception by the “word people” and explained that we really do all have common goals. Words of wisdom in bold.

NB: Most people know you from your graphics work. Is that what you’ve always done?

DW: I actually started in newspapers on the word side. The Orlando Sentinel hired me in 1981 as a copy clerk. I would take dictation from reporters, run proofs and write the national weather summary for the weather page (We were told to use strong adjectives: A powerful wind RAKED the Midwest Thursday, with FRIGID temps . . .). As an English major at the University of Central Florida, I saw it as an opportunity to move on to bigger things.

But the graphics department at the Sentinel seemed to be having the most fun in the newsroom, and the art director asked me to come back and work as a mechanical artist: Cutting page masks, coloring the comics (by hand), building locators (by hand). It was fun work and we were able to listen to music.

I kept my hand in the word side, though, doing the odd book review and a UCF column. When the chance came, I just naturally gravitated to a graphics editor position. My strengths were words and editing but I was taught graphics and design by many talented people: Bill Dunn, Mike Wright, Monty Cook, Jeff Glick, Len DeGroot, Don Wittekind.

NB: How did you decide to make the change from graphics to story editing?

DW: A housing bubble that burst and a fifth-generation Floridian wife.

Seriously, I took the Graphics Director position at the Tennessean in February 2006. And while I enjoyed my time there, it became clear by late August that my house in Florida was not going to sell any time soon.

Cory Lancaster — the managing editor at The Daytona Beach News-Journal and a former co-worker at the Sentinel — and I began talking about returning to Florida. She mentioned the Metro Desk Chief as a possibility and that really piqued my interest.

I interviewed, took some tests, worked some stories and was offered the job.

NB: What are your current duties and how do they differ from working in graphics? How is it the same?

I’m responsible for all local copy at night for the A and Local sections. It’s pretty common for the metro desk to read well over 200 inches of copy at night, as well as deal with breaking news and design, graphic and photo issues. The sheer volume of copy is the biggest difference. That and knowing which governmental body to upper case.

Whether it’s a reporter, editor or graphics artist, we’re all trying to achieve the same thing: Offering the reader a compelling story.

NB: Has your experience in graphics benefited you in this position?

DW: Most certainly, especially when it comes to headline writing. I always approach graphics as separate stories that can stand on their own, so a headline that grabs the reader is very important. I took pride in my headlines for graphics and it has transferred over to my new position.

NB: Do you get frustrated when you see graphics that you would have done or edited differently?

DW: Because of my background, I do get included in a lot of discussions about graphics here. Also, I worked with Scott Hiestand and Marianne Koch — our artists here in Daytona — at the Sentinel previously. But being the Metro Editor, I have to juggle a lot of responsibilities, so it can be hard to find the time to really shepherd a graphic through. I hope, as I get more comfortable in my new role, I’ll be able to work with the Graphics team even more.

NB: Did you have to overcome any stereotypes with your fellow editors or the reporters you edit because you came from a visual background?

DW: A friend at the News-Journal, whom I worked with previously, told me someone came to him and said, “Who’s this graphics guy that’s going to be Metro Editor?”

I think there was apprehension among some of the editors, being that I was a ‘non-traditional hire.’ But I think one of the great things about graphics and visual folks in general is that you work with everyone in the newsroom at some point. And these experiences rub off. Also, production-oriented issues are probably about 50 percent of the Metro Editor’s job, and coming from the visual side, that’s one of my strengths. And at some point, you have to perform and prove yourself. Cory and Don Lindley, our editor, have been very supportive and enthusiastic about my addition.

NB: Which job do you like better? Would you ever go back to graphics?

DW: Tough question. Seeing the paper come together from story, to proof, to final product — and knowing your decisions affect that process — is a satisfying experience. This new position has reenergized my love for journalism (though some here may dispute that when they see me waiting on a front-page story at 11 p.m.!). I also think it’s important for people on the visual side to ask for the chance to work on the word side, whether through cross-training or job shadowing. Or in my case, making the leap to the other side altogether.

That being said, graphics isn’t a profession. It’s a way of life. I think I’ll always be involved somehow.

Let’s all thank and applaud David for his time. He’s asked that I include his contact information, so I suggest you bother him as much as possible, especially to send raunchy e-mail forwards. I kid, of course. You can reach him at: dave.wersinger@news-jrnl.com