I'm Chris Welch, and I'm a news editor at The Verge. I've worked there since the site's launch in 2011, and in that time I've published over 3,500 articles. My body of work is a wide-ranging mix of news, product reviews, and more. I've consistently been among The Verge's most-read journalists over the years and have helped to define and (hopefully) lead by example the team's first-rate news operation, which has earned a reputation for speed, accuracy, and straightforward / easy-to-grasp writing.
More recently, I've been steering our How-To section of helpful tips and explainers that take our audience through the ins and outs of the tech in their life.
Photography has also been a focus of mine at The Verge; I can't count the number of hours I've spent on perfecting review photos of a smartphone or some other gadget to complement the writing end of things.
Before I came to The Verge, I was working a dead-end job at a wine store in Albany, New York. I applied to be an intern (a pretty old intern, at that) for This Is My Next — the precursor to The Verge — in the summer of 2011.
Joshua Topolsky and the founding editorial team of The Verge gave me a chance and the break that I desperately needed. I've never looked back, and I'm endlessly grateful.
Sean Hollister was an incredibly giving, scrupulous, and thorough editor in those early days of The Verge, providing invaluable guidance to myself and our other home-grown writers. If he hadn't had such high expectations of us, I doubt I'd ever have come away with the clear writing voice and compelling news storytelling that I've .
Nilay Patel, Dieter Bohn, Dan Seifert, Chris Ziegler, Vlad Savov, and other editors have played a similarly instrumental role in making me work harder and write smarter in the years since.
James Bareham, The Verge's creative director, constantly helps me step up my photography game tenfold. Make that a hundredfold. He's tremendous.
Tom Connors, Sophie Erickson, Phil Esposito, Mark Linsangan, Becca Farsace, Andrew Marino, and the rest of The Verge video team somehow manage to make me comfortable — or as comfortable as I'm capable of being — on camera in videos that are viewed a massive YouTube audience.