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  • We in CNN have 27 reporters out in the field - from Alaska to Florida, and everywhere in between. 29 if you count the White House and the Hill. We are in every key state, in every key district and on the ground where key issues are playing out. Political campaigns' success is all about the ground game and CNN feels the same way about election coverage. Expect to see original reporting from all our remote locations all night long. On air and online.

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We in CNN have 27 reporters out in the field - from Alaska to Florida, and everywhere in between. 29 if you count the White House and the Hill. We are in every key state, in every key district and on the ground where key issues are playing out. Political campaigns' success is all about the ground game and CNN feels the same way about election coverage. Expect to see original reporting from all our remote locations all night long. On air and online.

CNN is the only organization with both a 24/7 TV network AND a powerhouse digital product. Rachel Smolkin, executive editor of CNN Digital Politics, has put together a Murderer's Row of talent and the midterms are really their debut. When you combine that effort with the footprint we have in the field and the depth of talent and experience of our anchors, analysts and beat reporters, I don't think there is another organization on the planet that can cover elections the way CNN can.
When technology is used as a gimmick it can be a terrible distraction. The trick is to harness technology in a way that empowers the audience, informs them and brings them closer to the action. CNN has always been an innovator on election night, with the Magic Wall leading the way. Tonight, for the first time, and we're going to put the Magic Wall in the hands of our audience. Along with our partners at Microsoft, we have built a tool to let our users drill down into the key races and access a great deal of data, real time, as the results are unfolding.
With My Dog-Eyes by Hilda Hilst got more exposure and reached far more readers than I ever expected. Even my editor at Melville House, who championed the project form the outset, told me she was surprised by the response. After this, editors began asking my opinion about which Latin American writers ought to be translated. I realized I had some cultural capital to spend, and I wanted to use it to introduce another author who might be considered a risk by conventional publishers. Michael Noll was at the top of my list.

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