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Posts Tagged ‘writing’

The writer’s week: calling Switzerland and planning my syllabus

In business, journalism, life, work on August 8, 2014 at 4:37 pm

By Caitlin Kelly

My story in July 2014 Cosmo!

My story in July 2014 Cosmo!

Those of you new to Broadside may not know that I make my living as a freelance writer and editor, with my work appearing in places like The New York Times, Cosmopolitan and Marie Claire. I occasionally open the kimono to let you know what it’s really like — triumphs and tragedies alike — as many readers here are fellow writers, freelance creatives or students of journalism.

Monday

I start my week, as I often do, with an hour’s jazz dance class. It’s a new teacher and new routine. Feeling confident, I try some new moves. Bad idea! I hurt my left knee badly and limp home and I’ll spend the rest of the week icing and elevating it, and taking Advil. Ouch!

I have only one assignment this month, which is terrifying, disorienting and liberating. That hasn’t happened in years.

I spend so much time cranking out copy for income that to have time to sit still and really think, make calls, do some deeper story idea research is rare — and necessary,

I work up a list of pitches and have ten, all at various stages of readiness. Most of my pitches do sell, eventually, but to keep cashflow flowing means selling them as quickly as possible.

Tuesday

I follow up by phone and email on a pitch I sent three weeks ago. It’s a great story and one I know is a really good fit for that publication. No answer — yet!

A 40-minute phone conversation with a non-profit, a potential client with a lot of work to assign. As many of my clients now do, this one came through personal contacts. At my stage of the game, 30 years in, I have a wide network of people who trust my skills as I do theirs — she mentions a need for skill I know another friend has and, even though he’s in Argentina this week, I immediately email him to give him a heads-up.

I check in with a regular client to find out our next story is due in October. Cool. I like to be working at least two to three months ahead.

I’ve also re-set my income goal a lot higher — (like, double) — than before, so I’m hustling a lot harder for new clients and clients whose pay rate is better. They’re out there. I just have to find them!

BUSINESS OF FREELANCING

Wednesday

Spending way too much time on-line! I’m a member of several new and secret women’s writing groups on Facebook and they’re both a source of tremendous intel and fun distraction.

One of them spun off a new blog, I Believe You, It’s Not Your Fault, a place where women share stories of sexual assault and/or emotional manipulation, the goal to empower younger/other women and girls. It very quickly attracted a lot of media attention, like this BBC story.

I’ve finally been binge-watching the award-winning Netflix series House of Cards, which is both chilling and compelling. Its two lead characters, Francis and Claire Underwood, are absolutely ruthless in their search for, and exercise of, power. It’s well worth your time. I also love the production design. I’ve now seen more than 20 episodes and the show’s color palette is restricted to black, blue, gray, brown, cream, white. No sunny yellows, reds, purples or cheery prints here!

My husband, a fellow journalist, was a photographer in the White House Press Corps for eight years, so much of it feels familiar to him; here’s his blog, with many of those historic images.  It’s also fun to see people we know, personally and professionally, playing cameo roles as journalists. I have a photo of Betty Ford on our living-room wall — taken by the official photographer at the time — standing on the Cabinet table. Love that image!

Thursday

I check in with my accountant as I fill out reams of paperwork from the two New York colleges where I’ll be teaching writing this fall, The New York School of Interior Design and Pratt Institute. Looks like I will owe even more more money. Not a chance! Time to create some more deductions and figure out the maximum I can stash into my retirement savings instead.

Reading through my bookshelves choosing which books I want my students to read and discuss.

I check in with Jen, pictured below sharing a dugout canoe in rural Nicaragua on assignment, to make plans for a conference we’ll be attending together this fall. I speak to fellow writers, by phone, email or social media, pretty much every day. When you work independently, it’s the only way to survive, let alone thrive.

Friday

I learned how to canoe at camp -- useful when we went to Nicaragua

This was a workday for us in rural Nicaragua. Sweet!

By 9:00 a..m. New York time, it’s 3:00 pm in Switzerland, where I need someone to help me with sourcing. I call them, ask in French for help, and send an email.

The weather this week has been delicious — sunny and clear, with no humidity and a breeze, so I’m writing this sitting at a table on our sixth-floor balcony. Enormous buzzards and red-tailed hawks wheel and dive within 30 feet of me. The only sounds are overheard aircraft, the wind in the trees and the radio station I listen to much of the time, WFUV.

I pitch a national business magazine, one new-to-me, after reading their editorial guidelines. I was introduced to the editor yesterday by a colleague, someone I met when we were both judging journalism awards. I haven’t seen or spoken to him since, but we play at the same level.

How was your week?

Boom! Broadside blasts past 11,000 readers

In blogging, culture, journalism on August 2, 2014 at 12:14 am

By Caitlin Kelly

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Thanks!

I started this blog in July 2010, dubious anyone would ever show up. (I had been blogging for a year at True/Slant, paid, but it was sold from underneath all the writers who built it. Nice!)

But you did show up, and you keep arriving — readers from Ireland, England, Scotland, Australia, Canada, India (hi, Ashok!), several African nations, New Zealand and, of course, the United States.

I’m amazed and amused and grateful at the variety of people who come to Broadside: artists, teachers, students, business owners, consultants, singers, fashionistas, fellow journalists and writers. There are high school students, college students, fresh graduates and retirees — an unlikely but welcome mix of perspectives and life experiences.

I’ve published 1,650 posts, blogging usually three times a week.

I really appreciate those of you who make time to visit and comment so thoughtfully and consistently, including:

Steve, a contractor in Pennsylvania; Charlene, traveling the world taking photos; Leah in Arizona; Ksbeth, a schoolteacher in Michigan; Kathleen, a schoolteacher in Germany; Jonelle, a consultant in D.C., Katie, whose blog name (The Stories My Suitcase Could Tell) is perfect; Ohio State student Rami; fellow journalist CandidKay; artist/writer Emily Hughes; fellow athlete/blogger/journalist Caitlin, (who blogs at Fit and Feminist), MuddyRiverMuse, CricketMuse, Robin in Vermont, Michelle in Saskatchewan…

We’ve somehow managed to keep trolls at bay, to enjoy some lively, candid, civil and moving conversations. I look forward to hearing your thoughts, which makes writing here — which I also do for a living, for places like The New York Times, Cosmopolitan, Marie Claire, Quartz.com and others --  the most enjoyable.

I’ve written two well-reviewed non-fiction books, “Blown Away: American Women and Guns”,  and “Malled: My Unintentional  Career in Retail”. I hope you’ll find time to read them!

If you, too, are a writer, I also offer individual coaching, editing and six specific webinars; I no longer schedule them for specific times, but find a mutually convenient time to work with you by phone or Skype. Details here.

FINGERS ON KEYBOARD

Here are some of my favorite  — and most-discussed/liked — posts from the past few years:

Why I read obituaries and you should as well

What I learned by attending sleep-away summer camp for years

This post is now a bit of journalism history — in it I interviewed the late Michael Hastings, who was killed in a fiery car crash in Los Angeles in June 2013. This post is an interview with two terrific male journalists about the reporting that broke their hearts.

Here’s a fun one…how well do you speak Canadian?

The 12 things you should never say to a writer

Privileged white women telling other women how to be confident. Enough!

On the many reasons you really need to flee the country — even your area code — to learn about the larger world

Twelve tips for creative success

After 14 years, 14 reasons my (second!) marriage still thrives

 

The freelance life: hustle or die!

In behavior, blogging, books, business, journalism, life, US, work on July 29, 2014 at 1:40 am

By Caitlin Kelly

My story in July 2014 Cosmo!

My story in July 2014 Cosmo!

A recent survey by the Freelancers Union is interesting — the New York-based group asked 1,100 people what they think of their freelance life — 88 percent said they would not even take a full-time job if it were offered to them.

How do we know? Our new report we’re releasing today, “How to Live the Freelance Life — Lessons from 1,000 Independents (PDF)” surveyed more than 1,100 freelancers nationwide about their work, money, lifestyle, and values.

The report offers a remarkably clear portrait of America’s fastest-growing workforce.

The biggest takeaway: Nearly 9 in 10 independent workers (88%) would keep freelancing even if they were offered a full-time job.

With that level of freelancer pride, no wonder freelancing is booming. Half the workforce may be independent by 2020. Freelancers Union’s own membership is up 410% since 2007 — and the number of millennial members has surged 3000% in that time.

Here’s a useful 11-point checklist for those hoping to try the freelance life, by writer Laura Shin.

One of the things I find intriguing about freelancing full-time is how differently we each do it.

The basics — earning reliable income every month — never change. We pay the same prices for gas and groceries and clothing as people with paychecks — who may also get raises, bonuses and commission.

But editors sometimes kill a story and sometimes for capricious reasons, which costs us income; it grabbed $3,000 out of my pocket in the past nine months. Not fun!

We only get what we  negotiate.

I read Laura’s list and I don’t do several things she does:

– My only time measurements are a calendar and the clock, not the cool and efficient apps she and others use to track their time and rates.

– I use a line of credit when people pay me late, or stiff me, instead of relying on short-term savings, (although I usually keep six months’ worth of expenses in the bank for emergencies.)

– I also have no regular monthly gigs, so I start most months with no idea what I’ll make. I have to pull in $2,000 just to meet each month’s expenses — anything after that buys haircuts, clothes, entertainment, vacations. Nor does it cover costly surprises like last month’s $500 car repair bill or last year’s $4,000 (yes) replacement of the head gasket.

It’s also very difficult now to pull $4,000+/month within journalism when most digital sites offer $300 to $500 for a reported story so I seek out print markets paying $1,500 per piece or more instead.

The ideal, for me, is a $4,000+ assignment I can lavish a few weeks’ attention on exclusively but which also allows me some time for marketing smarter, deeper stories just like it. I dislike jumping constantly from one thing to the next, even though maintaining cash-flow  — i.e. a steady supply of payment — demands it.

Unlike Laura, I have a husband with a good job and steady income; he will also have a defined benefit pension, which reduces our need to save quite as aggressively for retirement. (We still do it anyway!)

Here’s a powerful and depressing story from The Wall Street Journal (aka capitalism’s cheerleader) about why Americans are unhappy with work/life balance — as they have so little of it!

And another story about why so many employers are choosing to hire freelancers.

Ellen, a new Broadside follower, writes here about why she quit her job to go freelance — doing data entry — and is loving her new freedom.

And this, from The Guardian, about the absolutely desperate financial reality of being an author — only 11.5 percent of whom earned their living solely from writing. Their median income? A scary 11,000 pounds — or $18, 826 — which actually sounds high to me!

This New York Times piece — about how much freelance writers really make —  got a lot of traction:

That answer may be not be as much as some might hope, at least at the outset. Ms. Dieker, who also posts her monthly freelance income on her Tumblr, says that she’s hoping to make $40,000 gross this year, but that other freelancers routinely ask her how she manages to make that much when they’re bringing in much less. She also notes that she’s making a lot more than when she started out: “Like any other career, you grow it.”

I’ve had staff jobs and enjoyed them. I’ve had colleagues and enjoyed them. I do miss a steady, 100% reliable paycheck.

And I have yet to earn the equivalent of my last staff salary. I’m not sure I ever will, much as I try.

But you also get used to making your own schedule. You get used to seeking out clients you enjoy, not tolerating and sucking up to your coworkers or bosses, at worst, just to stay employed.

And watching so many journalism staffers lose their jobs? Not cool! When freelancers lose a client, and it happens, we just go find another one, or several.

Freelancers, as the survey proves, cherish our freedom to manage our time; while writing this blog post I also had time to make soup, marinate salmon for dinner and do a little light housework. My husband was working from home that day, so we also had some time to chat and enjoy lunch together.

I started my workday at 7:30 a.m., wrote and filed one story; started work on another and cold-called an editor I’d pitched last month. We had a great chat and — cha-ching! — she may actually have a $4,000 assignment for me sometime later this year.

I’ve already nailed down an assignment in England for January 2015 and am discussing one in Argentina. Few staff jobs offer that kind of range.

But you must hustle! As business guru Seth Godin writes here, on his blog, if you can’t sell what you do, you’ll never make a penny at it — no matter your education, hard work or talent.

Would you prefer to be freelance?

Or do you like working for someone more?

Freelancers can attend a mid-week matinee!

Freelancers can attend a mid-week matinee!

 

Ethics, schmethics! (But, seriously…)

In behavior, blogging, business, culture, journalism, Media, travel, work on June 27, 2014 at 12:46 pm

By Caitlin Kelly

Do you trust what you read, hear or see in the mass media?

THINK LIKE A REPORTER

Even blogs?

A Gallup poll of 1,000 Americans a few months back says no:

Their findings: just 21 percent of the people surveyed ranked newspaper reporters with high or very high honesty and ethical standards. Next came lawyers, tying with 21 percent, followed by TV reporters at 20 percent, then advertisers at a miserable 14 percent.

Just so we’re clear, here. I work as a journalist and often write for The New York Times, which sends out a long and detailed ethics code it expects all freelance contributors to adhere to. Interestingly, though, every freelancer — whether an artist, writer or photographer — is completely vulnerable to the whims of their individual editor, some of whom have been abusive indeed: abruptly killing stories, (which cuts our fees dramatically), or sitting on unpaid invoices for months.

One of the paper’s more challenging demands, for example, is that no freelance writer can ever accept a paid trip to write a travel story, (even for another publication or outlet)  — which leaves its travel section open only to people with deep-enough pockets to jet off to exotic destinations and pay all their food and lodging as well.

One writer, Mike Albo, lost a nice weekly column in the Times after he took a paid trip to Jamaica; he turned it into a very funny, and very accurate one-man show, The Junket, which I saw and admired.

Welcome to the economic costs of ethics!

Another issue the Times is fussy about, and which seems fair to me, is not interviewing friends, relatives or groups in which you have a financial interest — i.e. your brother-in-law’s fab new company.

On this blog, I occasionally mention companies, products and experiences I’ve enjoyed — none of whom pay me to do so. If and when I’m able to get sponsored posts, I’ll be very clear who’s paying me to say what.

So when I read or listen to “news” of any sort, I expect to be told of any potential conflict of interest, even though that’s unlikely.

If someone takes a freebie, then raves about said item or experience, they need to come clean to their audience.

I once attended BlogHer, an annual conference that attracts 5,000 bloggers. I didn’t much care for it, although it’s obviously hugely popular.

The reason I would not go back was the exhibition hall, where women thronged the booths to collect as much free loot as they could carry. That’s not why I write or blog.

It’s also not what journalists do.

trust-torn

Have you followed the excruciating behavior — and criminal trial it led to —  by UK editors Rebekah Brooks and Andy Coulson?

Here’s Ken Auletta in The New Yorker:

A British jury has declared Rebekah Brooks, the former editor of the News of the World and executive at News Corp., not guilty of criminal charges. She had been charged with participating in the paper’s phone-hacking practices, for covering up evidence, and for involvement in payoffs to silence the police or solicit their help in fetching fresh news stories. At the same time, they found Andrew Coulson, Brooks’s successor—who went on to serve as communications director for the Prime Minister—guilty on charges of conspiracy to intercept phone messages. Stuart Kuttner, the paper’s former managing editor, was also found not guilty; charges against some of the editors’ other colleagues have yet to be resolved. But a criminal case is not the final word on whether either editor, or News Corp., nor much of the British tabloid press, has betrayed the principles of journalism.

Ethical failures may not merit a jail term; they do merit a spotlight. In 2011, Prime Minister David Cameron appointed Sir Brian Leveson, a prominent judge, to call witnesses to inquire into the culture and ethics of the British press. A year later, Leveson issued a report than ran more than two thousand pages.

Other recent ethics scandals have depressed and dismayed many, like the discovery that Cambodian human rights advocate Somaly Mam had been less than truthful.

From TheAtlantic.com:

Now Margaret Sullivan, the public editor of The New York Times, is calling on Kristof to “give readers a full explanation” of his reporting on Somaly Mam, the celebrated Cambodian anti-sex-trafficking activist who, according to a recent Newsweek expose, fabricated parts of her story and those of some of the alleged victims she advocated for. The revelations have disillusioned many of Mam’s loyal supporters and left the press looking gullible. Just as importantly, they’ve highlighted the public’s seemingly insatiable desire for heroic narratives—and the willingness of many in the media to provide them.

Kristof was hardly alone in promoting Mam and her initiatives. Several respected outlets, including Newsweek, have played handmaiden to her celebrity. Consider just a partial list of media-bestowed accolades: Mam was named a CNN Hero and Glamour’s Woman of the Year. She was included in the Time 100, Fortune’s Most Powerful Women, Fast Company’s League of Extraordinary Women—the list goes on. When stories like hers crumble, however, few in the media pause to examine how they could have been so thoroughly duped. Fewer still acknowledge their complicity in perpetuating stories that were too good to check out.

And this, from Salon, about non-profits who are also not revealing their own ethical bonsai:

Partnerships between NGOs and big-brand companies are developing even faster than those with energy and pharmaceutical corporations. Environmentalists have led the way, collaborating with, and accepting money from, big-box retailers and brand manufacturers. The Environmental Defense Fund blazed a trail in 1990 by partnering with McDonald’s to phase out the restaurant chain’s Styrofoam packaging. Today such partnerships are ubiquitous. IKEA works with WWF as a “marketing partner,” providing funding through the Global Forest and Trade Network to “create a new market for environmentally responsible forest products.” Conservation International works with Starbucks on sourcing coffee beans and with Walmart on tracking the sources of the company’s jewelry products. Monsanto and The Walt Disney Company are two other “featured” corporate partners of Conservation International (as of June 2013).

Executives from these companies also sit on the boards of environmental NGOs. As of June 2013, the board of trustees of the Natural Resources Defense Council’s includes Robert J. Fisher, past Chairman of the Gap board of directors, and Alan F. Horn, current chairman of The Walt Disney Studios. Neville Isdell, former CEO of Coca-Cola, is chairman of the board of the U.S. branch of WWF (known in the U.S. as the World Wildlife Fund) (as of June 2013). Rob Walton, chair of Walmart, also chairs the executive committee of Conservation International’s board of directors, which, as of June 2013, includes Paul Polman of Unilever (current chief executive), Heidi Miller of JPMorgan Chase (retired former president), and Orin Smith of Starbucks (retired former CEO).

Social and human rights organizations have generally been less receptive to partnering with big-brand companies. But this is changing, too.

I tend to be a fairly trusting person — until I get burned — as I recently was by a fellow blogger who really should have known better than to try to screw me.

I’ve sent her several un-answered emails asking her to do the right thing.

Many of you already read her blog, filled with cute personal stories and a you-go-girl! flavor. She blogs about writing and how to become a better writer and is very popular; last time I looked, she had almost 30,000 followers.

I used to read her blog and enjoyed it.

Then she reached out to me, after months of my comments, and asked me to teach for one of her on-line conferences. I did, offering my time and talent to nine of her students — unpaid. In return, she said, I could  guest post and promote or link to my own classes.

I fulfilled my part of the deal.

She never did.

What ethical breaches have you recently faced?

Do you care if people behave ethically toward you or others?

 

 

Buy my books! (The gentle art of self-promotion)

In blogging, books, business, culture, journalism, US, work on June 16, 2014 at 12:43 am

By Caitlin Kelly

malled cover HIGH

Here’s an interesting discussion, from The New York Times Book Review, about whether or not authors should run around promoting themselves and their products books.

Here’s James Parker on why it’s such a bad idea:

She must explain herself. He must sell himself. To a gifted minority it comes naturally; to the rest, it really doesn’t. Hence the tremendous awkwardness that often attends these sorties into the national mind. Author photos, for example, are invariably ghastly: pouting, bedraggled or staring down with blazing eyes from the spire of genius, the author is basically saying (or trying to say): “Trust me. I’m worth it.” As for media appearances, any interview in which the author doesn’t swear uncontrollably or break into loud sobs must be considered a public relations triumph.

Having written two non-fiction books, one before the age of social media – “Blown Away: American Women and Guns”, published in 2004 — and Malled, in 2011, I’ve been around that block.

He’s right.

People who choose to write for a living generally prefer to withdraw into their own heads and work at their own pace.

If we were super-chatty extroverts, we would have gone into PR.

If we really loved having our photo taken or being witty in two-minute soundbites, we would have chosen a career in television. Trying to boil down nuance into seconds is difficult and scary as hell — and I’ve done a fair bit of television and radio promotion for my books, whether BBC radio and television, NPR or Al Jazeera America.

And “the public” can be brutal, (see: amazon “reviews”), ignorant and brutally ignorant of what it takes to even get a book commercially published. Authors often get asked to speak at someone’s lunch or alumni group or women’s club, unpaid.

Yet if your book sells poorly — fewer than 10,000 copies — your odds of an agent repping you, or any publisher touching  your next attempt shrivel very quickly.

So we feel compelled to sing and dance and do blog tours, even if that’s about as appealing as gum surgery.

Here’s Anna Holmes taking the opposite view:

Book promotion can offer a feeling of agency for authors trying to find their way in an industry that can seem otherwise fickle, opaque and unmeritocratic…

And the readers, really, are where it’s at. There’s nothing more rewarding than taking — or making — opportunities to connect with potential readers face to face or, thanks to the rise of the Internet, pixel to pixel. In fact, I consider book promotion as much of an obligation as proofreading a manuscript. Writing is, in itself, an act of engaging with others, of seeking connection over mere expression. If you were to put a book out into the world, which would you rather have — conversation or silence?

Holmes is being super-polite; “unmeritocratic” is Times-speak for:

How did that piece of shit ever find a publisher?!

I have two friends who head the publicity departments of two major American publishers. I love them as friends, but to hear their insiders’ view of this business is blood-chilling. One told me recently she read a proposal so incompetent she said, “Not a chance.”

Yet the house bought it for a lot of money, because the writer already has a huge following for her website — i.e. demand for her product.

I was intrigued when I started to follow writer Sarah Salway’s British blog, Writer in the Garden, and decided to follow her on Twitter — and read the bio’s of the many highly-accomplished UK writers she follows. Their self-presentation was almost uniformly witty and self-deprecating, a style I used to employ when I moved from Brit-inflected Canada to the U.S. — and to chest-thumping New York City, aka Braggarts ‘r us!

If you’re shy and quiet and reserved about your work here, hang it up kids, because you’re probably going to stay invisible and powerless.

In our noisy, crowded, you-only-get-six-seconds’-of-my-attention culture, introverts can have a tough time getting their books attention, reviews and sales.

I have to say, on balance, I side with Holmes. I’d rather initiate a convo with my readers than sit around waiting for someone to find my books.

And then, suddenly, it gets real…

In behavior, blogging, domestic life, family, life, love, women on June 11, 2014 at 3:48 am

By Caitlin Kelly

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It was a sad, sudden shock to read this from a fellow blogger recently:

It’s raining, and the sky is overcast.  I cried.

I woke up to an empty apartment.  The water leaking from the ceiling is hitting a tin bucket, sending out an echo.  I cried.

Today, I am not strong.  But I’m giving myself permission to feel it all.  And I’m not so sure that’s weak, either.

It turns out, losing what feels like home is much more difficult than I thought.  Buddy.  Georgia.  They were my home.

I respect him and what we had far too much to shell out details to a semi-faceless-web, but I feel that to move on, I have to say this “out loud”; Georgia and I have gone our separate ways.

The blog, Key and Arrow, written by a young schoolteacher in Austin, Texas, has been a source of pleasure for me for a while now. Every Monday, she posts “Seven Things”, a recap of seven pleasures from her past week, charming and inspiring, with lots of photos of meals, her man, her dog…

Now the man and dog are gone and I, too, feel a little bereft.

The Internet is odd that way, all this uninvited intimacy with strangers, people we will likely never meet in person, but whose children and pets and lives become a part of ours for a while, possibly for years.

FINGERS ON KEYBOARD

Some people disclose a stunning amount in their blogs, as I have occasionally as well, including infidelity, mental illness, family strife and addiction. The Internet sometimes feels like a safe place to park difficult and complicated feelings, hoping against hope that someone else out there will read you and say:

“You, too? I thought that was only me!”

Admitting publicly, especially to strangers, that your life is actually complicated and difficult takes guts. We’re not all perky and shiny all the time, and blogs that reveal little of the writer behind it quickly lose me. There’s plenty of that faux fabulousness on Facebook already.

But doing so also means trusting that others will read you with compassion and empathy  — not schadenfreude and voyeurism. (It happens.)

It takes trust.

I like that it demands trust, as when intimacy is met with kindness, friendship blossoms.

In the past few years, I’ve become friends with several readers of Broadside and plan to finally meet and visit with two of them, both living in England, this winter; both moved from reader to new friend after I posted this very dark and personal piece about my mother.

I find these web-created friendships sustaining, as sometimes people thousands of miles away better comprehend us than our own families, colleagues or neighbors.

Do you feel close to anyone whose blog you read?

Or to your blog followers?

 

 

12 things you should never say to a writer

In behavior, blogging, books, business, culture, journalism, work on May 29, 2014 at 12:51 pm

By Caitlin Kelly

I know that many Broadside readers work in education — have you seen The 12 Things You Should Never Say to Teachers?

Here are 12 things you should never say to a writer:

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How much money do you make?

I get it — you want to be a published writer, too — and are naturally curious about the rewards. But  most book advances are now paid out over as long as four years — minus 15 percent to our agent — and the average book advance is pitifully small to start with, far less than $50,000. Do the math, and weep.

And because journalism pays so badly you just can’t believe anyone would actually work for those wages. But we do.

There is also so little direct correlation between work we may value intellectually — and what the market rewards most handsomely. (See: the best-seller list.)

Wow, that’s not very much, is it?

See above. While a few fortunates are pulling in mega-bucks, the highest-paid print journalists usually earn less than a fresh graduate working for a major corporate law firm. Sad but true.

malled cover HIGH

Are your books best-sellers?

Long bitter laugh. Only a minute percentage of books, on any subject, will ever hit the best-seller list.

Can you introduce me to your agent?

No. Maybe. Probably not. The agent-author relationship is intimate and fraught with multiple perils. It’s also a question of chemistry — the person who’s a great fit for me may be a lousy choice for you.

I’ve never heard of you

Here’s a sad little essay by Roger Rosenblatt on how un-famous he feels, even after publishing a few books. (You’re thinking: Who’s that guy?) The only way to survive the publishing world is to assume that your book(s), even after all your years of hard work and promotion, will largely be ignored by the public and bookstore buyers. Anything beyond that is gravy.

Will you read my manuscript?

What’s your budget? Assuming we want to read your work, unpaid, is naive.

This is what we do.

This is what we do.

Can I see the article you’re writing before it’s published?

Nope. Journalists get asked this all the time and the only correct answer is “No.” If you’re in doubt about the accuracy of a quote or some data, call your source(s) back. But allowing someone to review your copy opens the door to their desire to rewrite it to their tastes.

If I don’t like what you’ve written, I can ask you to remove my quotes, right?

See: on the record.

When I stop (doing whatever you do professionally), I’m going to take up writing

Awesome. Now go away! No, further.

Nothing is more irritating (OK, deadbeat publishers are more irritating) than having people treat our profession as an amusing hobby, something you can pick up and put down at leisure, like macrame or scrapbooking. It looks soooooooooo easy, right?

Wrong.

Writing well is bloody hard work. It’s not something you just “pick up.”

Journalism is a dying industry.

Indeed. Imagine how I feel after 30 years in it…

20130517083359

I hate journalists! They never get anything right

Same with doctors, lawyers, teachers…fill in the blank.  It’s a big industry with some bad apples and some good ones. Don’t assume I’m unethical or inaccurate just because you’ve been burned by someone else.

You can’t make a living as a writer!

Define “living.” Your assumptions or prejudices may be inaccurate. Or your idea of “a living” means $300,000 a year before bonus. In which case, you’re right!

The (latest) book I just couldn’t finish…

In behavior, books, culture, journalism, Media on May 25, 2014 at 1:43 am

By Caitlin Kelly

 

photo(45)

Gah!

The fines alone for keeping this book out of library too long — I could have bought it.

And, too ironic, the title: The Sense of an Ending by Julian Barnes.

It’s not even a very long book. I tried!

I just didn’t care about any of the characters. I didn’t find the plot, such as it was, compelling. Nor was the writing especially beautiful.

And it won the 2011 Booker Prize. Oh, well.

I just saw a friend’s post saying she couldn’t finish Donna Tartt’s latest, The Goldfinch.

I’ve tried several times to penetrate Bel Canto, by Ann Patchett and gave up.

Yet I am still slowly reading, and enjoying, Atonement by Ian McEwan, one of my favorite writers and recently (somewhat) enjoyed The Woman Upstairs by Claire Messud.

I put off for years reading The Master and Margarita by Bulgakov, but couldn’t put it down and loved it.

What book(s) have you simply given up on halfway through — and why?

It may be creative, but, hell yes, it’s still work!

In art, beauty, behavior, books, business, culture, design, film, journalism, Money, music, photography, US, work on May 13, 2014 at 12:58 am

By Caitlin Kelly

Time to let go, at last

Did any of you catch this recent interesting piece in The New York Times?

The way we habitually think and talk about these matters betrays a deep and venerable ambivalence. On one hand, art is imagined to exist in a realm of value that lies beyond and beneath mere economic considerations. The old phrase “starving artist” gestures toward an image that is both romantic and pathetic, of a person too pure, and also just too impractical, to make it in the world. When that person ceases to starve, he or she can always be labeled a sellout. You’re not supposed to be in it for the money.

On the other hand, money is now an important measure — maybe the supreme measure — of artistic accomplishment. Box office grosses have long since become part of the everyday language of cinephilia, as moviegoers absorb the conventional wisdom, once confined mainly to accountants and trade papers, about which movies are breaking out, breaking even or falling short. Multimillion-dollar sales of paintings by hot new or revered old artists are front-page news. To be a mainstream rapper is to have sold a lot of recordings on which you boast about how much money you have made selling your recordings…

This is something I think about a lot.

My father, still alive at 85, was a respected maker of films and network television, as was my stepmother. My mother worked as a journalist.

It never occurred to me that “artist” and “starving” belonged in the same sentence. Nor should they!

This notion that being creative means penury or 1%-land is absurd. We don’t expect or require this of others — the middling executive, the stalled lawyer, the so-so administrator. The world is filled with people doing their best and never hitting the heights, nor surviving on ramen in a group squat.

More, from the Times’ piece:

Inexpensive goods carry hidden costs, and those costs are frequently borne by exploited, underpaid workers. This is true of our clothes and our food, and it is no less true of those products we turn to for meaning, pleasure and diversion. We will no doubt continue to indulge all kinds of romantic conceits about artists: myths about the singularity of genius or the equal distribution of talent; clichés about flaky, privileged weirdos; inspiring tales of dreamers who persevered. But we also need to remember, with all the political consequences that this understanding entails, that they are just doing their jobs.

I’ve been writing for a living — sometimes for a nice wage, sometimes for a much-less-amusing one — since I left university. But I’ve never cracked that sexy glass ceiling of the six-figure income.

malled cover LOW

Talent and hard work, prizes and fellowships — got ‘em. There are few direct correlations between the standard metrics and creative success, let alone buckets ‘o cash. Your ability to schmooze, to accept and perform work you find creatively grotesque, to suck up abusive client behaviors — these, too, factor considerably into who will (quickest) ascend the greasy pole of fame and fortune.

The creative life is one that many mythologize or fantasize about: waking up at noon to daub a canvas or noodle about with your screenplay. How lovely, how freeing to flee the grim confines of cube-world and the predations of The Man.

Snort!

Every time I put on a pair of shoes, or eat a meal, I touch the direct reflection of talent and hard work — it produced the income that keeps me housed, fed, clothed and will fund my retirement.

Making art — of any kind — in no way excuses the artist from the costly necessities of life, no matter how cool or offbeat our lives and work may appear to others choosing a different vocational path.

One of my favorite books is The Creative Habit, by American choreographer Twyla Tharp, who has made her career by — as she eloquently puts it — walking into an empty studio and making a dance.

In the end, there is no ideal condition for creativity. What works for one person is useless for another. The only criterion is this: Make it easy on yourself. Find a working environment where the prospect of wrestling with your muse doesn’t scare you, doesn’t shut you down. It should make you want to be there, and once you find it, stick with it. To get the creative habit, you need a working environment that’s habit-forming. All preferred working states, no matter how eccentric, have one thing in common: When you enter into them, they compel you to get started.”
Twyla Tharp, The Creative Habit: Learn It and Use It for Life

Creative work absolutely is work, even if/when it doesn’t earn enough to buy you a house or a shiny new car — or any car, ever — or the plaudits of The Right People.

And holding fast to principle — creating something you imagine to be of lasting cultural worth, not merely sating contemporary appetites or shoveling cash at your expenses — remains a difficult challenge for many artists faced with the same costs of heat, fuel, clothing, food and housing as the rest of the workforce.

Jose and I recently saw this terrific 1987 play, The Substance of Fire, about a New York City family-run publishing house and its internal battle over this issue.

IMG_20140512_122236059

Here’s a post I wrote about this in 2011, which was chosen for Freshly Pressed.

I ask whether we should focus on being productive (look what I made!) or creative (which might be publicly inaudible and invisible for months or years, producing no income):

I’m not persuaded one can be both all the time.

We all need time to think, reflect, ponder, meander, take some detours, some of which — being immediately unproductive — lead into dead ends, some of which lead us off into totally new and hugely profitable (financially or creatively) directions.

Shutting down the production line for a while — silence! solitude! no immediate income! I’m wasting time! — can feel terrifying.

It’s absolutely necessary.

Do you work full-time in a creative field?

How’s it going?

How do you measure your success?

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On (really) seeing

In art, beauty, behavior, film, life, nature, photography on May 9, 2014 at 12:07 am

By Caitlin Kelly

 

magnolia

Some of you are photographers and film-makers, professional observers.

Some of you are writers and visual artists.

We look for a living — noticing and making or recording the beauty of what we find.

shadow

I enjoyed this recent post by frequent commenter Cynthia Guenther Richardson about the value of really seeing where you are:

I have become more of a human being since taking photographs daily. More satisfied, centered in the moment, less opinionated of what and whom I experience. Photography offers an intense personal experience while also requiring objectivity, a distancing. It asks me to abandon restrictive thinking and give myself over to a finer sense of things, the gravitational pull of life around me. Order can be created even if there seems to be little–or exposed and highlighted. And it takes discipline, which is something I enjoy…

Walking into the world with camera in hand unlocks secrets to which I would not otherwise be so privy. I closely observe the way shadow changes rhododendron blossoms. I watch how a couple leans toward one another in the spring light, then the man turns sharply away. I see a child poke a muddy puddle and talk to himself about frogs and other beings unnamed. Over there is a house with an extravagance of foliage and two empty chairs. Who steps out in the dusk to sit there with the quieting birds? Photography uses a different part of the brain than language; it enlarges my reservoir of skills and ideas, stimulates possibilities.

And these images, from SearchingtoSee, are lovely. Emily Hughes is a British primary school teacher who’s also passionate about photography. Here is some of her “about” page:’

It is easy to become consumed by a kind of fervour for capturing images, and I wonder if for him [her father] it was as much about escaping from the chaos of everyday family life as it was about recording it. I know for me it certainly is. I carry a camera with me often, and when I am off taking pictures I feel so liberated and so focussed at the same time,  that I often find it hard to be ‘present’ in my other roles: mum, sister, daughter, wife, friend… but there are times when I feel like I need to record, and there are times also when I realise that I need to put down the camera and just be, enjoy, experience, think. But I understand and share the collective need we have as humans to use photography as a tool of memory, to seize and hold forever those moments of magic because they are so fleeting and because if we didn’t then we might forget that they existed at all.

But so many of us now live — if you can call it that! — in a rushed, tech-tethered world.

As I walk through Manhattan or Grand Central Station, I often have to side-step people , yelling “Don’t bump into me!”, people  striding head-down while reading or texting.

It’s rude and aggressive — and sad.

photo: Jose R. Lopez

photo: Jose R. Lopez

They’re missing a lot.

I’ve lived in the same apartment for 25 years, which is odd and unsettling for me, someone who lives for adventure and new experiences. But it also means I’ve grown to know and love the rhythms of my town, and the trees and woods and water nearby.

I know when the magnolia is about to bloom and mourn the day the red Japanese maple sheds its final bright mementos for the season. I look for the fragrant shoots of wild onion and the changing position of the sun as it hits our balcony, proof that the earth really does move through the seasons.

ALL IMAGES COPYRIGHT CAITLIN KELLY 2013.

The other day I went for my reservoir walk, not as usual, at the end of the day at 5:00 or 6:00 p.m., but at 10:00 a.m; the same old familiar place felt very different, as brilliant sunlight backlit the tiny, brilliant green buds of the trees. The woods became a pointilist painting!

My father, still healthy and curious at 85, was a documentary film-maker and a visual artist working in a variety of media: silver, etching, engraving, oils, lithography. I began drawing and painting and taking photographs as a child.

(It’s interesting that Cynthia, Emily and I were all inspired by our fathers.)

My husband Jose is an award-winning New York Times photo editor and former photographer, (now also shooting weddings), so I’ve spent my life around people who see, notice, observe — and act on their art-making impulses.

Jose recently did a 30-day series of daily blog posts with images from his 30 years at the Times, many of them from his days in the White House Press Corps; check it out here.

You might also enjoy The New York Times Lens blog, which interviews photographers and offers interesting backstories to the images you see in their pages and on-line.

(All photos here are mine.)

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Are you making time to really see your world?

 

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