Texas Monthly finds rich pickings in Hollywood

Publishers are exploring many different ways to diversify their revenue streams. For Texas Monthly, a prominent regional magazine in the US, this has involved adding a touch of Hollywood glamour.

The magazine is increasingly positioning itself as a multifaceted “journalistic storytelling organisation.” This evolution began about five years ago when the publication refined its approach to content, enhancing its capabilities in multimedia storytelling. Under the leadership of Megan Creydt, the executive producer for TV, film and podcasts, the magazine has established a dedicated podcast studio, producing original audio content that complements its written narratives.

The recent success of adaptations such as Taylor Sheridan’s new series Landman, Richard Linklater’s Netflix film Hit Man, and others, illustrate the magazine’s unique ability to translate its in-depth reporting into compelling cinematic narratives. Much of the material adapted into these projects stems from Texas Monthly’s long-standing tradition of true crime journalism. Notably, award-winning writer Skip Hollandsworth has become a key figure in this endeavour, as his engaging storytelling style, which balances grim subject matter with dark humour, resonates well within the entertainment industry.

Texas Monthly has leveraged Hollywood connections as part of its strategy to enhance content visibility and integration. A significant shift occurred when the magazine transitioned its representation to Creative Artists Agency (CAA) under agent Ann Blanchard, a native Texan. This partnership has led to the formation of a team of scripted and nonscripted agents, collectively working to enhance the publication’s presence in the film and television landscape. Additionally, the establishment of a first-look deal with HBO has solidified Texas Monthly’s standing as a valuable content provider.

The appeal of Texas Monthly’s storytelling is rooted in its exploration of the complex character of Texas itself, recognised as a unique cultural landscape with diverse narratives. With the state being the second most populous in the US and characterised by an intriguing juxtaposition of wealth and poverty, Texas produces an endless array of stories that draw both artistic and commercial interests. The publication’s investment in allowing writers ample time to craft their narratives, combined with a revenue-sharing model for stories that are eventually adapted, has cultivated a deep well of engaging content.

Creydt articulates that Texas Monthly’s success stems not only from new content but also the wealth of its five-decade archive, which continues to provide inspiration for modern adaptations. Pieces dating back 23 and 40 years have been revisited, demonstrating the timeless relevance of the magazine’s storytelling. The exploration of the archive marks a strategic initiative to revive and reinterpret historical narratives that resonate with contemporary audiences, showcasing the magazine’s commitment to blending tradition with innovation.

Overall, the shifts seen at Texas Monthly serve as a prominent case study within the broader context of the news publishing industry, where the integration of multimedia formats such as video, audio and written content is becoming increasingly critical.

Source: Noah Wire Services