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Archive for the ‘business’ Category

Sharpening the saw — off to D.C., then Toronto

In behavior, business, education, journalism, life, travel on June 11, 2016 at 12:36 am

By Caitlin Kelly

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Time for refreshment!

OK, laugh…but I do, occasionally, read self-help books, especially those focused on business.

I’ve been working full-time freelance, alone at home, since 2005, and have done so several times in my career. Which means I have no boss or manager to, ideally, train and guide me, or mentor me or help me get better at what I do.

And being a freelance writer is — very rarely — about the quality of your actual writing, but about your ability to sell, close deals, hustle, to create and sustain profitable new relationships.

So I need to seek, and to find, people and ways to help me stay fresh, smart and sharp.

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New horizons!

A classic of the business self-help genre is Stephen Covey’s “Seven Habits of Highly Successful People”, originally published on August 15, 1989, which I read and enjoyed.

Here’s the seventh one, which he calls sharpening the saw:

Sharpen the Saw means preserving and enhancing the greatest asset you have–you. It means having a balanced program for self-renewal in the four areas of your life: physical, social/emotional, mental, and spiritual. Here are some examples of activities:
Physical: Beneficial eating, exercising, and resting
Social/Emotional: Making social and meaningful connections with others
Mental: Learning, reading, writing, and teaching
Spiritual: Spending time in nature, expanding spiritual self through meditation, music, art, prayer, or service

As you renew yourself in each of the four areas, you create growth and change in your life. Sharpen the Saw keeps you fresh so you can continue to practice the other six habits. You increase your capacity to produce and handle the challenges around you.

 

Those of you who read this blog regularly know how deeply I believe in and evangelize for a life filled with joy and connection and rest, not just a hard charge from cradle to grave.

 

In that spirit, I’m heading to D.C. this weekend for a firehose of data on writing about retirement. I’ve been writing often for Reuters Money on a variety of personal finance topics, from taxes to how to establish a scholarship. This three-day D.C. fellowship, offered to 20 journalists from across the country, will, I hope, better prepare me to pitch and write smart, incisive stories.

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Lincoln Center, New York City — where my friend invited me, as a young journalist, to perform as an extra in Sleeping Beauty with the National Ballet of Canada. I did eight shows, terrifying fun, and wrote about it for the Globe and Mail.

While in Washington, I’m also meeting editors at two major publications and hoping for new work from each of them.

I’ll take three days to rest, recharge and enjoy the city, which I’ve visited many times; favorite spots include the Old Ebbitt Grill and the Sackler Museum, the elegant, serene Asian art wing of the Smithsonian.

I’ll get home, have a day to unpack and repack, then fly to Toronto, my hometown, to attend the wedding reception and brunch of one of my dearest and oldest friends, a woman marrying after decades of independence and financial success running her own business.

I’m super excited for her and her fiance, a distinguished author and professor, and thrilled to be there to share their joy; she spoke at my second wedding, in September 2011 in a small church on an island in the Toronto harbor.

She has known me, and nurtured me, from the very start of my journalism career, when I — a wildly ambitious writer in Toronto — apparently (!?) pestered her for free tickets to the ballet, which she represented for years as their press officer.

We quickly became good friends, and she has welcomed me into her home many, many times. I later wrote several times about the National Ballet, and had some great adventures as a result; I was honored to write an essay for their 35th anniversary souvenir program as well.

She is more family to me than anyone to whom I’m related.

It’s also been a busy spring with no out-of-state travel since early January, so I’m really ready for a break, physically, emotionally and intellectually.

How have you been “sharpening the saw?”

 

Real journalism still matters — and it costs

In behavior, blogging, books, business, culture, education, journalism, Media, news, television, work, world on June 7, 2016 at 2:01 pm

By Caitlin Kelly

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The late David Carr, NYT media columnist — much missed. Brilliant, no bullshit.

It costs lives.

This week, once more, journalists across the world are mourning the deaths of two more tribe members, David Gilkey, a photographer for National Public Radio (and a veteran of several U.S.newspapers) and his interpreter Zabihullah Tamanna.

The two men, travelling in a convoy with other NPR staff, were killed in Afghanistan on assignment when their Humvee was hit by rocket-propelled grenades.

To most people beyond professional journalism, it’s just another story flashing by in your Twitter feed or something glimpsed, possibly, on Facebook.

I listened yesterday to the heartfelt tributes on National Public Radio by Jason Beaubien and Kelly McEvers, who worked closely with Gilkey; McEvers, who worked for many years in the MidEast, could barely choke out a sentence.

It takes tremendous courage to step into the theater of war to cover it as a journalist, (and, as Gilkey also frequently did, starting in 2007 for NPR, to record the aftermath of natural disasters in places like Haiti and the Philippines) — to pick up a camera or microphone and start gathering facts to share with the rest of us, sitting safely and calmly at home on our balcony or in our cars or on a sofa patting our dog or cuddling a child.

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The CBC’s logo — one of the many news sources I follow

These jobs — yes, chosen freely — demand sacrificing any sort of personal life, sometimes for many years.

You go, at once, where the story is, where you have to be, for as long as your editors want you there. Forget celebrating other people’s birthdays with them or anniversaries or attending their weddings or graduations or the birth of your children.

Reporters’ risk their physical and mental health, even if “only” at risk of secondary trauma, a very real effect of witnessing death, violence and destruction firsthand.

 

There’s no other way to tell these stories well.

 

Like PTSD, secondary trauma leaves scars for years, and it often goes unnamed, unrecognized and untreated, because admitting it to yourself — or your colleagues, let alone to your bosses — also means admitting you’ve got deep and complicated feelings about what you’ve witnessed and recorded and transmitted.

Feelings are something we often postpone having about tough stories.

They’re messy and can slow us down.

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I covered the unity march in Paris in January 2015 — I love breaking news!

If you can spare the time or have the interest, please take 25:03 out of your life to listen to this smart, impassioned commencement speech to the 2016 graduates from UC Berkeley’s Graduate School of Journalism by Rebecca Solnit.

Here’s a print version of it.

An excerpt:

Break the story is a line journalists use to mean getting a scoop, being the first to tell something, but for me the term has deeper resonance. When you report on any event, no matter how large or small—a presidential election, a school board meeting—you are supposed to come back with a story about what just happened. But of course we swim in stories like fish swim in water; we breathe them in, we breathe them out. The art of being fully conscious in personal life means seeing the stories and becoming their teller, rather than letting them be the unseen forces that tell you what to do. Being a public storyteller requires the same skills with larger consequences and responsibilities, because your story becomes part of that water, undermines or reinforces the existing stories. Your job is to report on the story on the surface, the contained story, the one that happened yesterday. It’s also to see and make visible and sometimes to break open or break apart the ambient stories, the stories that are already written, and to understand the relationship between the two.

There are stories beneath the stories and around the stories. The recent event on the surface is often merely the hood ornament on the mighty social engine that is a story driving the culture. We call those dominant narratives or paradigms or memes or metaphors we live by or frameworks. However we describe them, they are immensely powerful forces. And the dominant culture mostly goes about reinforcing the stories that are the pillars propping it up and too often the bars of someone else’s cage. They are too often stories that should be broken, or are already broken and ruined and ruinous and way past their expiration date. They sit atop mountains of unexamined assumptions. Why does the media obediently hype terrorism so much, which kills so few people in the United States, and mostly trivialize domestic violence, which terrorizes millions of U.S. women over extended periods and kills about 1200 a year? How do you break the story about what really threatens us and kills us?

 

I love what she says and believe wholeheartedly in her stance — that so many of the “stories” we write or broadcast are bullshit.

It also takes real professional courage to break away from the pack, to zig when everyone is zagging, and chase down a story you know is essential but that no Big Outlet has (yet) deemed important.

It’s called a press pack for a reason…

 

I hope, as you consume serious, smart  journalism today, in whatever format on whatever device — paper, phone, tablet, book — you’ll stop and say a prayer of thanks for those who have given their lives to bring it to us.

 

 

 

The true meaning of collegiality

In behavior, blogging, books, business, education, journalism, Media, women, work on May 25, 2016 at 12:51 pm

By Caitlin Kelly

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Writing for a living can be lonely!

 

Many professional writers, as I do, live and/or earn our incomes in solitude, working freelance at home or in a cafe or library.

As a result, entire days, sometimes weeks, can go by without seeing another member of our industry face to face — people live far away, have long commutes or are simply too busy cranking out copy to have a long meal, or short coffee, with one another.

It’s a real loss.

 

We all need colleagues with whom to talk shop, gossip, hear about their latest project, cheer them when they win well-earned awards.

 

We need to give, and receive, fierce hugs and hear “Hey!” from across a crowded room.

And, yes, commiserate if it’s not been such a great year so far.

 

Last week reminded me how incredibly important it is so get into the same room with people whose work, and values, you like, respect, admire and hope to emulate.

 

I attended, along with 599 others, the annual meeting the of American Society of Journalists and Authors, held every spring in midtown Manhattan at the Roosevelt Hotel.

The ASJA is a member-only group, but Saturday is open to other writers at all levels; we focus on non-fiction and journalism.

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The writer and I have become Twitter friends — but have yet to meet in person. Terrific book!

After the sometimes shockingly filthy air of online-only communication — poisoned in so many groups by misunderstanding, grandstanding, rank amateurs and even bullying of those they deem unwelcome — being surrounded by smart, talented, proven professionals who actually know, like and respect one another’s work was truly a hit of pure oxygen.

The very first person I saw was a male tech writer, a friend of many years, who asked me about blogging.

Others asked how my work was going, or told me how much they enjoy my blog.

I met many new writers, and those with decades of work for every imaginable magazine, authors of multiple books, some of them New York Times best-sellers.

 

We’re all thirsty, at every level of experience, to learn more, to improve our skills.

 

On Saturday morning, I spoke on a panel with two other writers about coaching, a service I offer fellow writers. In the audience were two talented younger women I spoke to at length afterward — one from my hometown, Toronto, one from Alabama.

Here’s the full list of every panel, as they were all taped for late sale — you can order them! (Mine is S09 on May 21.)

BLOWN AWAY COVER

My first book, published in 2004. As someone who grew up with no exposure to guns, I was deeply intrigued by this most American of obsesssions

Such a pleasure to meet new people with thriving careers!

A group of us went out for lunch — women from Austin, Texas, New York, Boston, all of whom had never met. There’s an immediate, automatic comfort among fellow writers who know the real pressures of paying the rent/mortgage/health insurance from our writing, editing and teaching.

That afternoon, as other ASJA members do every year at the conference, I also mentored a young woman from (!) Sydney Australia; we mentor writers at the conference who pay a small additional fee and can ask us anything they want about the business of writing for a living.

It really is a meeting of peers and colleagues, not just idle chitchat.

We don’t just go to exchange business cards and polite pleasantries but, in a few more intimate conversations, to dig deep into the joys and challenges of what it means to still try to produce smart, thoughtful journalism in an age of listicles and clickbait.

How and where do you find true colleagues?

Mentoring 3.0

In behavior, business, education, life, work on May 10, 2016 at 12:38 pm

By Caitlin Kelly

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Which path should I choose?!

 

The traditional view of mentoring is that of a wise(r), old(er) person with the time, skills, expertise, insights and contacts to help a younger person enter, or climb the ladder of, their chosen profession.

You might find a mentor in a family friend, a neighbor, teacher or professor, a coworker or fellow freelancer.

But here’s the thing.

I think mentoring is no longer, as many people see it, a one-way street, with the person arguably with all the power and connections helping the person with none, or many fewer.

The economy has changed.

Entire industries have shifted, shrunk or simply died and disappeared.

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Books can offer lots of great advice, too!

Many people my age — I’m in my 50s — are scrambling hard now to earn a good living freelance; even if we wanted a full-time job with benefits, at the salary we enjoyed a few years ago, it’s quite likely out of reach.

So while we have decades of experience and skill we can and do share, we’re also now working for, and with, people half our age or younger who are the new gatekeepers.

We all need to adapt.

I’ve mentored many people throughout the years.

Some have become and remained dear friends, like this talented young woman in London. I’m super thrilled to see what a great career and life she has created for herself.

A few others have been, frankly, shockingly ungrateful and entitled, delighted to use me in whatever ways they thought most expedient and then...buh-bye!

Not cool, kids. Not cool at all.

I recently applied for a part-time editing position, one in which I’d be working closely with — i.e. managing — several young staffers. I needed proof of my ability to do so, and asked several Millennial friends, (i.e. mentees), to write me a LinkedIn recommendation.

Fortunately, several came through for me, and their words have been both touching and just what I needed. One blew me off with two snotty little sentences. That was…instructive.

Mentoring 3.0 is no longer the CEO in his or her corporate corner office pontificating.

Not everyone who can be helpful to you now has a Big Fancy Job.

They might not even have a “job” anymore!

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It all feels so mysterious, though. Help!!!

Nor is everyone who can be helpful to you de facto eager to have you — (and never ever use this hideous phrase!) — pick their brain. Just because you need help doesn’t mean everyone has the time or energy to help you.

Before you clutch someone’s ankles, insisting you desperately need their help and advice, show us what you’ve already tried to do.

Even if you’ve failed, at least you thoughtfully and sincerely tried. Effort is huge.

We need to know you’re listening and will actually do some of what we suggest; nothing is more annoying than making time to really listen carefully and offer our best advice, contacts or insights — and you fail to follow through.

Oh, and yes, a thank-you, (even on real paper with a stamp), is very welcome!

If you’re lucky, you’ll find a mentor who’s flexible, savvy and able to pivot whenever and wherever necessary. Treat them, and their valuable time, with the respect it deserves.

No one owes you this!

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The late, great NYT media writer David Carr, a lively and funny speaker — and generous mentor to many in our field

And if they turn back to you — and ask you for some help in return — don’t shrug and ghost.

In the new economy, we all need one another.

Less work, more life

In aging, behavior, business, domestic life, journalism, life, work on May 7, 2016 at 12:38 pm

By Caitlin Kelly

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I loved this recent post by a friend and colleague, a Toronto-based travel writer, Heather Greenwood-Davis, who has seen much of the world, and even took her two young sons and husband globe-trotting with her for a year.

Heather trained as a lawyer and did well, but…

 

My marriage suffered. My friendships suffered. My health suffered. I began to shut out the world and as a result the very people I thought I was suffering for.

It made no sense.

What was the point of a full bank account if I wouldn’t be around to enjoy it with them?

And so I downsized my career and upsized my happiness. I followed my passions and though there was an immediate hit financially, the life I’ve been able to craft with my family has more than made up for it. The happier I became, the more I earned.

 

As long-time readers of Broadside know, this is really one of my obsessions and an issue I care very deeply about.

Do you know this book — written by Elizabeth Warren and her daughter? — The Two-Income Trap? It argues that chasing the American Dream might be a fool’s errand.

If you’ve never read this classic book “Your Money or Your Life”, it’s an eye-opener. It makes clear, in plain and unvarnished language, the very real choice we make — we spend our lives focused on making (more and more and more) money, grow old and die.

That’s normal life for 99% of us.

But should it be?

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We’re not robots. We all need a hand, a hug and some help!

Do we all really need the biggest, fastest, shiniest, latest, 3.0 version of everything?

 

The tiny house movement addresses this longing as well, as some people choose to live in homes of 200 to 300 square feet, giving them the financial freedom to make less punishing choices than staying in a job they loathe to…pay the bills.

And so many students are graduating college with staggering debt and having very little luck finding a good job, the kind they hoped that college degree would help them attain.

For too many hard-working people, the “virtuous cycle” of work has long since been replaced with a vicious one, as so many us earn less than we used to, costs rise, good jobs are outsourced and turned into “gigs” with no benefits or access to unemployment insurance.

Whatever loyalty many people once felt to a job, employer or industry….Today? Not so much.

Every year, surveys show that a staggering portion — like 75 percent — of Americans are “disengaged” at work.

They arrive late, take sick days, dick around when they’re supposed to be working. They hate their jobs or, at best, feel bored, stifled, under-challenged.

This is brutal.

This is heartbreaking.

We only get one life — and it goes by very very fast.

 

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Beauty helps!

I so admire Heather for making a decision that goes against every sociocultural imperative: get (and cling to) a fancy job, make tons of money, make more, buy tons of stuff, buy more.

We’re urged by everyone — friends, teachers, parents, bosses — to keep climbing the ladder of material success and professional glory, no matter what it costs you emotionally, physically, intellectually and spiritually.

I live in the same one bedroom apartment I moved into in June 1989.

If you had told me this would become my life, I would have laughed. I moved around a lot, and liked it.

I’d never before lived in any one domicile more than four years — and that was back in high school, with my father.

But my chosen life in New York also threw me a bunch of curveballs: three recessions in 20 years, a brief first marriage, an industry — journalism — that fired 24,000 people in 2008 and is in serious chaos today.

 

Life, if we are lucky, is a series of choices that reflect our deepest values, principles and priorities.

 

I didn’t want to change careers or leave New York, still the center of journalism and publishing.

I had no wish to assume enormous student debt to return to college to retrain for an entirely different line of work.

I didn’t want to move far upstate, or out of state, where I could live more cheaply, and possibly face serious social isolation, which I’d hated in New Hampshire.

My stubbornness created its own challenges!

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How much is enough?

I don’t have children, so did not have those serious financial responsibilities to consider.

I’ve been very fortunate to have maintained health insurance and good health (even with four orthopedic surgeries in a decade.)

My priority, always, has been to create the freedom to travel and to retire, (and we have) and to work on issues and stories that make sense to me.

It means making, and spending, less money.

We’re outliers, in some key ways:

We drive a 15 year old Subaru with 166,000 miles on it.

We don’t buy a lot of clothes and shoes and electronics; our splurges are meals out and travel.

We’re not close to our families, emotionally or physically, so we don’t spend thousands of dollars each year on travel to see them, gifts for them or their children.

I realized — after working at three major daily newspapers and a few magazines — work is just work. Like many others, I’ve also been  bullied in a few workplaces and terminated from a few as well.

That left some bruises.

I enjoy writing. I love telling stories.

But it’s only one part of my life.

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I have many interests and passions, not just the desire to work, make money and become rich, famous, admired.

I’ve become a nationally ranked saber fencer.

I’ve been able to help care for my parents through health crises because I didn’t have to beg an employer for time off.

I’ve been able to help friends as well, like taking a recent day off to get a friend home to Brooklyn from Manhattan after day surgery.

Now that my husband is also full-time freelance, we can take a day or two during the week and just have a long lunch or go for a walk or catch a daytime film.

Jose and I really enjoy one another’s company.

I’d much rather have a day with him, just chatting and hanging out, than making an additional $1,000 to buy…something.

We met and married later in life,  and we have both had terrific, satisfying careers in journalism.

Now our priority is one another, our friends.

Our life.

How about you?

 

How badly do you want to be a writer?

In blogging, books, business, culture, journalism, Media, work on April 22, 2016 at 1:03 am

By Caitlin Kelly

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His play — written in 1777 — is still being performed…He, of course, died in poverty.

 

For many people, “being a writer” is one of their cherished dreams.

Some do it, through a blog, a self-published book, journalism, a commercially published book, of fiction, poetry or non-fiction.

Some write for digital outlets, at payments of $50, $100, $200.

Some write for major magazines with payments of $8-12,000 or more per story.

There’s a continuum from blog to commercially agented/published book.

There’s a continuum from a 700-word personal essay to 5,000-word reported story.

There’s a continuum from your first paid-for piece of writing, and your last.

Having written for a living since college — more than 30 years — here are some truths about this business, some less palatable than others:

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It takes talent

 

Yes, it does.

Simply stringing together 1,000 or 10,000 words on….whatever amuses you…then trying to find someone who wants it and give you money for it doesn’t guarantee anyone else will find them compelling.

Just because you feel an urgent need to share a story doesn’t mean it’s de facto riveting.

 

It takes training

 

You don’t have to spend a fortune to attend journalism school or obtain an MFA, although many people make that choice. By doing so, they put their work in front of others’ eyes, and learn to take (or ignore or filter) feedback and criticism.

They learn structure and form and voice and genre and narrative. They learn how to create characters.

They learn a crucial element of being a writer — your work is going to elicit reactions, and not always the ones you want or expect.

The world is full of on-line writing classes and your city or town likely has some as well. If you’re truly serious about your  craft, invest some time and money in learning and perfecting it. Attend writing conferences and talk to other writers.

 

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STUDY THE GREATS!

It takes practice

 

I see many younger writers desperate for instant fame and fortune.

They watch women and men their age, or younger, nabbing big book deals, television series and lucrative movie deals with the naive assumption they too, can have this — and quickly.

We all crave success and admiration.

It might take longer than you prefer. In the meantime, you’re getting better.

It takes social skills aka charm

Maybe some people can bully or bulldoze their way to publishing success.

Charm is an under-rated skill.

Talk to the person in line for coffee at the conference.

Talk to the person who’s friendly to you at an event. You never know who they know.

Be someone people genuinely like, respect and want to help — not Mr./Ms. Needy and Demanding.

 

It takes skills

 

If you are fortunate enough to get a story assignment, or a book contract, you’ll need to actually know how to produce the commercial product they are expecting from you.

You are not An Artist here.

You’re a tailor being paid to make a suit to a specific size and shape.

You’re a stylist asked for a bob — who doesn’t dye your client’s hair purple because it just feels like a better choice for you somehow.

We’re hired help.

Stories get “killed” all the time because the end product is weak and boring, and years of work on a book manuscript can be dismissed by your editor as “unpublishable.” It happens.

Being able to sell a sexy version of your idea is only the start.

For a major magazine or newspaper story and certainly for a non-fiction book, you’ll need to find sources, interview them intelligently, research the larger context of your story, write, revise, write and revise.

You need to create a narrative structure and characters we care about.

If all this feels terrifying or insurmountable, work on your skills.

 

I also coach writers and offer individual webinars; details here.

 

 

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This gripping memoir by a Canadian writer is one of my recent favorites…

It takes studying the greats

“You can’t write without reading.”

If you’re not devouring a steady diet of excellent work in your genre — and hopefully outside of it as well — you’re toast.

Read tons of terrific writing to try to discern why it works so well.

 

It probably means finding at least one (probably several) sources of reliable, steady, non-writing income, no matter the source

 

It doesn’t matter what the work is.

T.S. Eliot worked in a bank.

Poet William Carlos Williams was a doctor.

J.K Rowling survived on public assistance when she needed to.

If you’re hungry and cold and can’t get a decent night’s sleep and terrified of a medical emergency, get a job and build up your savings so that writing isn’t such a high-wire act.

Forcing writing to be your end-all and be-all, both emotionally and financially, can kill you.

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Isn’t this cover gorgeous? The author is a 747 pilot for British Airways. Fantastic book!

It takes patience

No one writes a perfect first draft.

No one.

 

It means being edited

If you freak out at the thought of someone questioning your: diction, structure, tone, opening, middle, closing, length of sentences and paragraphs…let alone the factual veracity of your journalism, go away now.

Just don’t even bother.

Work that appears unedited (yes, here, too!) is rarely as good as that which has faced others’ tough, incisive questions.

A writer needs an editor, often many. Find several you like, trust and respect, and be ready to learn from their demands.

A smart editor is the valuable — essential — intellectual equivalent of a demanding personal trainer.

How badly do you want to improve?

BLOWN AWAY COVER

My first book, published in 2004. As someone who grew up with no exposure to guns, I was deeply intrigued by this most American of obsesssions

It means being read

Obvious, right?

That means your mother, sister, ex(es), a lot of strangers.

You can’t predict or control what others will think or say of your most private and intimate thoughts — after you’ve retailed them publicly.

A thick skin is key.

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My second book, published in 2011. Some of the Amazon reviews were truly vicious. I stopped reading them years ago…

It means being — publicly –critiqued

Few reviews have been as nasty as this one, which recently ran in The New York Times Book Review, and which prompted much social media discussion among fellow writers about its meanspiritedness:

Now, I write empty, high-minded claptrap all the time. I also delete 90 percent of what I write. About an hour ago, for instance, I cut the entire 215-word opening sequence of this review. A boss of mine once said, of an article I had drafted over several months, that I had done a terrific job of catching myself up to a conversation the world had been having without me. Now I had to delete it, and start over from where I’d ended — from where the world didn’t yet know what it thought. Tillman’s meditations on the Big Questions often read like those of someone trying to catch up to the world’s knowledge while selling that world her notes for $26.

BOOM!

The critic, a well-established man, shreds the first-time author, a young woman.

(Several other reviews were much kinder.)

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It means being able to tolerate rejection without panic or despair

Rejection to a writer is like blood to a surgeon — a messy and inevitable part of every working day.

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It means being lucky — or not

 

This is a field — like many in the creative world (fashion, music, fine art) — where the goodies are rarely distributed “fairly”, equitably or when we most crave or need them.

It might be getting a full ride for an MFA or J-school or an awesome advance you can actually live on for a year or more without doing anything else.

Maybe they won the prestigious award or fellowship you’ve tried for multiple times.

It might be winning a stellar review or getting your work optioned for a film or television pilot; (my book Malled was optioned by CBS television, and earned me an additional $5,000 as a result — taken out of my advance.) It was also published in China, and that paltry sum also went toward paying down my advance.

(See a pattern here?)

It might well be, (try Googling the ancestors of some Big Name Writers) they’re sitting on a boatload of inherited or family money — like one New York writer whose family name graces a Manhattan concert hall.

Maybe they married a high net worth partner or husband, allowing them to do nothing but focus on work-for-pleasure.

The fact is, this is often — and long has been — a deeply unfair business.

Allowing yourself to marinate in a stew of envy and insecurity won’t improve your writing one bit.

How badly do you really want it?

 

Why being “productive” is a waste of time

In behavior, business, culture, domestic life, life, Money, U.S., work on April 2, 2016 at 11:56 am

By Caitlin Kelly

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Attending the ballet and staring at the ceiling — OMG, wasting time!

If there is an obsession I really hate, it’s “being (more) productive”, i.e. making sure that every minute of our every day is spent doing something, preferably as quickly and efficiently as possible.

Do more!

No, do even more. Better!

I live near New York City, a place where if you’re not working reallyhardallthetime — gobbling lunch at your desk with no break in your day — you’re seen as some witless, gormless slacker.

It’s hardly a point of view confined to New York, but it does feel very American, with a deep-rooted and long-established cultural emphasis on making lots and lots and lots of money and never wasting time because…you could be making more money!

All of which strikes me as sad and weird.

This mania for measurement began, as some of you know, with Taylorism and Fordism, ways of manufacturing, (to profit corporate owners and their shareholders), more quickly and efficiently, named for the men who created these systems.

Here’s a great video from the website Aeon, on the topic.

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Time or money? Which do you value more? Must we always choose?

As the video wisely points out, you simply can’t quantify intellectual output the way you can time with a stopwatch how long it takes to install a windshield or weld a joint.

The other essential problem with focusing all our energy on being more productive is that we are not machines. We are not industrial creatures, made of metal and oil.

We need to rest, to think, to reflect, to stare at the sky.

Constantly pumping out goods or services guarantees burnout and resentment.

It’s like dancing with fog, really, if you try to make creative work more efficient.

How long does it take to produce an idea?

A good idea?

An idea that isn’t shot down?

An idea that actually earns a profit?

And must that profit be purely monetary to have value?

What if your idea, instead, saves a life or soothes a colicky baby or gladdens your neighbor’s heart?

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Here are a few things you can’t do more productively:

 

Kiss

 

Die

 

Be born

 

Pray

 

Create a work of art

 

Meditate

 

Comfort someone

 

Be generous

 

Breathe

 

Getting the story is a story in itself

In behavior, blogging, books, business, journalism, Media, news, television on March 6, 2016 at 1:59 pm

By Caitlin Kelly

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The NYC food bank — which I saw last year while working on a story about it

I’ve been working as a journalist since my sophomore year of university; clips and details, here, at my website.

Decades later, despite the brutal disruption of our industry, I still write for a living.

Here’s a brand-new 36-minute podcast in which I describe how I conceive of, report and think through my stories and non-fiction books.

Sadly, many of us — certainly those with 20+ years’ experience — are starting to feel like whaling ship captains in the new era of steam, offering terrific skills that fewer and fewer publishers want or can afford to pay for.

The British daily The Independent recently killed its print editions and thousands of journalists are losing their staff jobs all over the world.

I still ply my trade freelance, publishing online and in print, for outlets from the Case Foundation to The New York Times.

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The late David Carr, NYT media columnist — much missed.

The terrific new film “Spotlight” won this year’s Oscar for Best Picture, about the investigative team at the Boston Globe and how it uncovered sexual abuse within the Catholic church. Here’s my earlier post about it.

Here’s a radio interview on CBC, (18:20 minutes in length), with the female member of the real Spotlight team, Sacha Pfeiffer, about what it’s like to work in investigative journalism — and to be observed and portrayed by an actress on film.

And here’s an interview with Joshua Hammer, whose story about Ebola for the digital site Matter, a piece of 9,000 words, won him a 2016 National Magazine Award.

If you, or anyone you know is considering working as a journalist — or you’re just curious about the process — this film is truly a must-see.

It’s the only movie I know of that shows the daily minutiae of reporting and how long, slow and sometimes tedious it can be to get to the point of proof and publication.

One of the things I still admire about journalism, at its well-funded serious best, is its larger goal of public service; here are the recent winners of the George Polk Award, given each year to American journalists in all media for their investigative reporting.

And those of us who do it professionally, especially within news, know there are many other people whose skills help us get it done safely and accurately, from translators to fixers to unnamed but well-placed sources.

Here’s a New York Times front page story about the death of one of them, a Syrian soldier who helped the Times tell the story of the mayhem happening in his country.

By the time you see or hear a story online, on radio or television or in print, hundreds of decisions have been made about it and decisions made by dozens of professionals. Journalism remains very much a team sport.

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The Paris Unity March, Jan. 11, 2015. Get out into the world! Take notes!

Here’s some of what happens before you ever see or hear a work of journalism:

 

Someone gets an idea

It happens in a variety of ways.

It might be from a press release, sent out by a professional agency whose job it is to promote their clients and their interests.

It might be something we noticed — an ad, an overheard conversation on the bus or at the dog run or while in a doctor’s waiting room. I saw something this week in a local drugstore, a new and unusual product that’s a direct reflection of recent cultural change. It might be a story.

It could be something we read or saw, yes, already produced by another journalist  — but not in depth or not for an audience we know well.

It might be a wire service story our editors want deepened or localized; if too local or regional, maybe looking at it nationally or globally.

Many reporters work a specific beat, (like a cop’s beat, an area they are meant to know intimately), and stay in close touch with sources in it, whether aerospace or retail or philanthropy.

Much traditional reporting, (a weakness in its conceptual narrowness), focuses on institutions of power and its players: the schools, courts, police, Wall Street, Big Business, Parliament or Congress or its various committees. The ideal is to hold the powerful accountable for their decisions, many made in secret and many using taxpayers’ money or affecting public policies.

Smarter thinking considers ideas more broadly and in ways that intersect across disciplines — design, gender, technology, culture, labor, belief systems.

A freelance writer, who survives like Sheherezade by telling/selling story after story after story, also needs to decide who’s the right market for which idea:

a trade magazine? A major newspaper? An overseas website? A women’s magazine? A men’s?

The reality is now that digital sites are ravenous for copy — and most pay crap — $50, $100, $200 for stories that can still require significant skill, experience and lots of time to report and write.

Young writers are lining up for it, and beating their ambitious wings against the locked doors of print publications.

Print pays a lot more. Not a lot of money, ($2,00o to $10,000+ per story for the truly fortunate), but enough to eat and pay bills.

I live in an expensive part of the world — the New York City suburbs — and most of my work is either produced for print or paid at print rates.

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My desk — no news there!

What’s the story — and who cares?

Journalists are cynical, skeptical, dubious.

We’re paid to question authority, (even if we often fail to do so in an era of concentrated media ownership and few jobs.)

As the saying goes, “If your mother says she loves you, check it out.”

So what is the story and why should anyone else make time to read or listen to it?

Who are the main characters? What’s new or different?

Does it reflect a trend?

What expertise or insight can you bring to it?

Is it even really worth doing?

Here’s a great blog post by a science journalist who decided — as we all do sometimes — to drop a story after she realized it was bogus.

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We try to sell the idea to an editor, either someone who’s our boss (and their boss) or a freelance client

Much of what we do requires the delicate art of persuasion. We have to feel passionate enough about each story — ideally — to do the work of reporting, interviewing, researching, writing and revising it.

But we also have to have skills and expertise not to make a mess of it. Do we have the right contacts? Do we speak the lingo of that industry?

If freelance, is it even worth doing financially? It can take days, weeks or months to properly research a story and we have to budget our time carefully.

What if it requires travel expenses — plane/train/car rental/hotel/meals? When budgets are tight, every additional penny must be justified.

Which is why so much lazy, crappy reporting is now done by phone, email and Skype. It’s cheaper.

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Time to make some money with your writing?

What’s the best way to tell this story?

One of the joys and challenges of producing quality journalism now is the decision process when presenting it — a video? a podcast? a broadcast? A 3,500 word feature? A Q and A?

This BBC video — of a former concentration camp in Germany — is astounding. The images were shot using a drone.

There are so many ways to present information.

The goal should always be to engage the reader, to bring him or her with you into the places you’ve been to gather the material — the sights, sounds, smells, tastes and textures.

How soon do we need to jump on it?

In an era of Twitter, Vine and Periscope, the rush to be first is exhausting and getting worse.

What if one of our many competitors gets it before we do?

These New York City brothers were the subjects of a recent documentary, The Wolfpack. The film-maker had to win their trust to move ahead with the project

Who do we need to include to tell this story?

This is where so much journalism remains weak  — still depressingly filled with white, male voices and few  women and/or people of color, as this story points out.

I usually write nationally-reported stories and try to find a mix of people in age, race, geographic location and profession as sources.

Once we’ve figured out our possible list of sources, we need to consider possible conflicts of interest; (does their brother own the company? Did they attend that school?), and decide who’s most likely to give us time and how much of it.

There’s a distinct pecking order to whose calls and emails will get returned the fastest; if you’re writing for a trade magazine instead of a Big Media Outlet, be prepared to make a lot of return calls. For freelancers, time is money and every wasted minute costs us income.

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Do we need to travel to do the best reporting possible? By helicopter? Bus? Military aircraft?

How much reliable accurate information can each source give us?

This is the hidden 90 percent of the iceberg of every story you’ll ever read or hear, and one that “Spotlight”, unusually for a film about our biz, explains well.

It means actual legwork — sometimes physically venturing into neighborhoods or places we already know are unwelcoming, and maybe unsafe.

Knocking on doors. Calling people who never call back. Sending dozens of emails.

Accessing public documents, maybe filing a FOIA — Freedom of Information Act — when we’re stonewalled.

If you’re working in a foreign country, you may need a bodyguard, a fixer, a translator and a driver. You also have to find them, trust them with your life and pay them.

What do you need to take with you? War reporter Janine di Giovanni recently told the Financial Times her kit always included a morphine syringe, a tourniquet — and a little black dress because, you never know!

I know two seasoned female reporters who recently went into dangerous territory (Mexico, researching narco-terrorism) and South Sudan (researching famine) for their work. That’s normal. That’s what some of us do.

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A village in Nicaragua I visited for a story for WaterAid…no running water and no electricity

How much time before you’re done?

I recently proposed a story that I knew would be complicated to do well. Hah! It took me eleven interviews, each 30 to 75 minutes long, to understand it well enough to write it for a general newspaper audience. Then I still needed time to write it.

The worst thing to do is rush and skimp. I call the result Swiss cheese journalism, full of holes.

Does it make sense?

This is where the best and toughest editors are our saving grace. It’s their job, even when we resent it, to question our thinking, decisions and sources, the structure and tone and length of what we’ve given them.

It’s very easy, after spending a lot of time working on a story, to completely forget that — for the viewer or listener — it’s all new to them!

 

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On assignment in Bilwi, Nicaragua.

 

The downside of travel — turbulence!

In behavior, business, Technology, travel, world on March 3, 2016 at 12:45 pm

By Caitlin Kelly

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At least a space station doesn’t budge!

Do you hate turbulence as much as I do?

Some people actually enjoy it, but this year — thanks to the strongest El Nino in decades — many flights are proving to be much bumpier than anyone ideally prefers. Like, screaming, throwing up, we’re-all-gonna-die bumpy.

Flights are increasingly being diverted to airports where the plane can actually land safely, as a recent instance in Canada where it went to an entirely different province. Or passengers and crew are injured and the flight diverts to the nearest airport and hospital that can accommodate it.

I’ve been flying around the world for 40+ years, on tiny aircraft (the Arctic, Caribbean, Nicaragua) and 777s and A320s, but (thank heaven!) have not ever had a really terrifying flight.

I do live in fear of one and yet I live to travel. Bit of a dilemma!

I figured others were noticing this pattern, certainly anyone who flies often.

I pitched the idea to The New York Times, for whom I’ve been writing for years.

Here’s my story.

I love the accompanying illustration with it (please go look!) by Randall Enos, a local artist exactly my age, whose work has accompanied other stories of mine in the paper. How on earth do you illustrate something invisible?

I was so thrilled with what he produced I called him at 9:00 in the morning to thank him — he was already up caring for his six horses. “I’m a horse janitor,” he said.

An excerpt:

There are many different kinds of turbulence, with the most problematic to predict and to avoid being clear air turbulence (which is very difficult to detect using conventional radar). Much of it is typically experienced at cruising altitude.

In the last few months, at least three commercial flights, two on American Airlines and one on Air Canada, have experienced severe turbulence that resulted in injuries to those on board. In two instances, the flights were diverted to nearby airports so the injured could receive treatment.

Aviation professionals classify turbulence from light to extreme, a form they say is very rare. The challenge of reporting turbulence, several pilots said, is that the reports themselves are subjective.

While in flight, pilots file Pilot Reports (Pireps) to alert airline dispatchers and other pilots en route of any turbulence they’ve encountered; what one pilot considers mild might feel moderate to another.

 

This was by far the toughest story I’ve written in a long time!

 

I’ve never studied physics or aeronautics or flown a plane myself. Because so many people fly, even those who hate and fear it, I knew it would be well-read. I also knew that aviation professionals would likely read it so see if I got my facts right.

It’s not a simple, quick story, which also made reporting and writing it so satisfying. I like a challenge.

But I also live in terror of making a mistake!

I started by reading basic news reports to find out how widespread the problem is and what’s being done about it.

I wanted to speak to someone who’d been on a really bad flight to describe it firsthand. I found him by seeing him quoted in a Canadian news story, checked him out on LinkedIn and then had to persuade his assistant and his public relations agency to speak to me about it.

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Our last transatlantic flight — mostly smooth! — from Dublin to New York

This was one of those stories where my network really came through for me, without which I simply couldn’t have done a decent job on a complex topic.

I asked an aviation writer, a woman I’ve never met, if she could recommend a source/expert, and she did, immediately — a pilot with decades of experience now teaching aeronautics. He proved invaluable throughout the lengthy process or producing this story, which took weeks of interviews and revisions and cuts.

I also spoke to four working pilots and a flight attendant — all working long-haul routes on 777s and their like. I wanted people in the air now, not retirees, and that meant I couldn’t name them.

That meant the Times refused to allow me to use their helpful insights and comments, at least not in quotes.

I spoke to several meteorologists to try and parse the many kinds of turbulence — some of which seem banal to pilots, if not to us shaken-up and scared passengers!

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I love London — and have to cross an ocean to see it again

My goal was to both soothe nervous flyers as much as possible while making clear how essential it is to buckle your seatbelt!

 

I learned a lot and was so frustrated I couldn’t include more detail and quotes. But that’s journalism, kids!

We always work within some sort of restraint, whether time, length or access to sources.

I hope you’ll read and share it.

I think you’ll find it helpful!

The writer’s week

In behavior, books, business, journalism, life, Media, work on February 23, 2016 at 5:06 pm

By Caitlin Kelly

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An ongoing, occasional series, a glimpse into the life of a full-time freelance writer and career journalist…

It’s been a week!

And it’s only Tuesday

I spoke yesterday to a class of freshman students at New York University, invited by a friend, Sarah Dohrmann, a highly accomplished writer who’s been published in one of the Holy Grails of American journalism, Harper’s; here’s her story about Moroccan prostitutes.

She and I met for the first time last summer through a group of women writers who joined an on-line group and some of whom have trekked out to lunches and dinners to meet one another face to face. So fun!

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Jose (my husband, a freelance photographer) bought this book — I look forward to reading it!

One of the toughest challenges of working freelance — i.e. with no fixed income or employer — is how lonely it can be. Many of us, as I am writing this blog post, are at home in our sweatpants or gym clothes. Maybe in a co-working space (which costs precious income) or in a coffee-shop or library for a break from midwinter cabin fever.

So making a new friend, and someone with whom you can really share the ups and downs of our field, (and frank details of the places we’ve worked or want to work or think we want to work) is a joy.

It’s also the only way to make a living at this level of the game. Sarah and I are peers, with credentials and experience. We’ve won prestigious fellowships and traveled the world. We’ve taught writing at New York City colleges.

We’re still figuring it out.

 

When you work for yourself and have creative ambitions — like winning a fellowship (or another and another), or a writer’s residency or selling a book (or your second or third or eighth) — you’re constantly juggling short-terms needs for income with longer-term needs for growth and learning.

 

How many conferences to attend? Who’s speaking? Who will I meet there? Is it worth it?

How much time can I afford to “waste” on a passion project for whom no one has assigned an economic value (yet)? When will I sell it and to whom? What if no one ever buys it?

Should I take (keep) a part-time job to stay afloat? For how long? Doing what?

 

That same night I attended an event designed to teach me how to better make use of LinkedIn. It was a firehose of data and exhausting, although I met some nice new people and learned a lot.

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The late, great NYT media writer David Carr, a lively and funny speaker

I’m also in the middle of pitching several stories to several outlets and fielding requests for more details on them — among them The Wall Street Journal and a major national magazine I don’t want to name yet.

I feel like the hotel clerk in an old-fashioned hotel, the kind with real metal keys and numbers engraved on them, or a sorter in an old post office, popping letters into the right boxes. Deciding who to pitch, when and why is an art, not a science, and it requires skill, nerve, research — and self-confidence.

Rejection is normal.

 

If you want to crawl into bed in the fetal position when your work is rejected, cowboy up! Not an option.

 

Figure out what didn’t work and move on.

Freelancers live like Sheherazade, spinning tale after tale after tale to save our lives, to simply earn enough income to pay the mortgage/rent/groceries.

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My husband’s retirement cake; I wrote the headlines (Arthur is the publisher; Zvi a former colleague)

We also teach, online and in person; I offer individual webinars ($150, skedded at your convenience) and coaching at $225/hour. Details here!

 

 

Our health insurance bill recently jumped — from an impossible $1,500 per month to a WTF $1,800 month. So this week I’ll also be ditching a plan I like and trust, but which is killing us financially, for one I hope will give me what I need most.

Peace of mind.

I’m also trying to figure out what to do about a book proposal I wrote in December but is stalled; my agent isn’t happy enough with it to send it out. And no one wants to read a proposal without an agent’s imprimatur.

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

On assignment in Nicaragua for WaterAid — blogger Jen Iacovelli in the bow of a dugout canoe. This is where I was two years ago. Hungry for my next adventure!

I’m also endless revising and fact-checking my latest story for The New York Times, for whom I’ve been writing for many years; some clips here.

Readers have no idea how heavily edited — and questioned and challenged, by multiple tough editors — each of their stories is. It takes a lot of time and energy, even after I interviewed eleven sources and, oh yeah, wrote the story.

Next month, I’ll once more be a finalist judge for Canada’s National Magazine Awards; I won mine in 1998. I speak fluent French, so some of them might be en francais.

That’s another way we give back to our industry, an honor when asked.

In addition to my daytime work, this week includes a variety of social and professional evenings out as well.

One is an event where an editor I need to meet face to face, (and who I’ve already written for), is speaking. Another is a new-to-me market, invited by a friend who’s already well-known to them and who generously asked me along.

The third is a retirement party for a friend, colleague and neighbor who’s leaving The New York Times.

We’re a tribe.

Without it, we’re toast.

 

 

 

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