Presenting the Olympics — the backstory

By Caitlin Kelly

 

JOSESKED

NO PRESSURE

The Winter Olympics in Pyeongchang, South Korea start today, and millions will be enjoying them from around the world. Here’s the schedule of events.

If you visit the website abcnews.com, you’ll find a slideshow of images, a tight edit chosen from among the hundreds shot daily by some of the world’s greatest sports photographers.

The man editing those images this year is Jose R. Lopez, my husband — photo of him above with the entire schedule of every event to help him plan and manage his time.

A frail child, he was never an athlete himself, but, as a staff photographer for The New York Times, photographed two Olympics — Atlanta and Calgary, one summer, one winter. He knows the incredible skill and training it takes to even make the team, whether you’re an athlete competing or someone covering it as a journalist.

Thanks to a helpful colleague already on the ground in Korea, Jose has the complete schedule he needs to plan out his coverage.

Because of the 14 hour time difference between our home, (and ABC’s headquarters), in New York and Korea, it’s going to be a rough few weeks, with sleep a luxury and many weird shifts for him. I admire his tenacity and determination and am now in full-on kitchen duty, making sure there’s plenty of healthy home-made food to sustain him.

I’ve never attended the Olympics, but have two personal connections to them — a film my father made about Japan, and some Olympic badges he brought home with him from Tokyo (1964) and having a New York City coach when I did saber fencing who had competed in two Olympics himself. I couldn’t quite believe I even knew an Olympian, let alone got to work with him to improve my skills.

As a Canadian living in the U.S. I have two countries to cheer for.

 

Will you be watching the Olympics?

 

Have you ever attended one?

 

How a book gets born

By Caitlin Kelly

L1010164

 

Ever stand in a bookstore, see thousands of books and think — how the hell did these even get here?

If you work in journalism, publishing or academia, writing and publishing a book is a big deal, a standard milestone of success and achievement that you’re expected to reach as many of your peers will, and sometimes sooner, and more successfully.

When it comes to trade non-fiction — i.e. books written for a general audience, not academic — the trajectory is fairly consistent.

 

stackbooks

You, the writer, come up with an idea.

— Maybe it’s a historical figure who intrigues you enough to want to write a biography.

— Maybe there’s a trend in current culture you want to explore and have a specific and interesting viewpoint on.

— Maybe you have exclusive access to a compelling story no one else can tell.

— Maybe you’ve been working the beat and have so deeply understood a special subject that you’ve got amazing sources willing to tell you things they won’t tell anyone else and you can tell it best.

You need to know what else is out there, the comparables, what’s been published, by whom, in what voice, by which publisher(s) and, key, how well those competitors sold.

You need to think your idea through carefully, maybe check it with a few smart friends to hear their thoughts on it.

You must have a clear and consistent track record of writing well for demanding editors and audiences, especially if this is your first book. EVERYONE wants to “write a book” but not everyone (yet) has the skills and stamina to actually do it successfully.

You need to find an agent, without which you will have a difficult-to-impossible time trying to get a major publisher to read and consider it. You essentially ride in on their established coat-tails and reputation, since they are there to know the marketplace and who would potentially be most interested in your project and why.

You need to win their representation. If you’ve previously published and have a good and established reputation as a writer, you’ll probably know many other published writers, several of whom might be willing to introduce you to their agent(s.) Then you hope to find one who feels like a good match. That’s a delicate mix of personality, skills, experience, vision for your project, etc. (The agent I’m working with, who was recommended to me by a writer I know, told me he got [wait for it] 10,000 unsolicited submissions in 2017. He took one.)

You need to have an established “platform”, ideally a combination of expertise and track record writing on your subject and in that genre, and an audience hungry to pay money to read more of your work. That’s your blog, Instagram, Twitter, LinkedIn following.

You need to put out a fair bit of unpaid labor to create a complete book proposal, with marketing plan, your bio, your idea, table of contents and chapters outlined.

You need to decide what the minimum advance is you can afford to work with — if it’s $30,000 paid out quarterly, for example, how will you make up the additional income you need for living costs, let alone paying for travel and research help, if needed? Can you get a grant or fellowship to offset costs?

 

You need to hope…because there’s no guarantee anyone will buy the idea.

 

If they do (yayyyyyy!) you’ll sign a very lengthy contract, agree on the date to submit your manuscript and get ready to rumble.

They’ll also have done a P & L (profit and loss statement), which makes immediately clear(er) that acquiring and publishing a book is very much a business deal, not the imagined, unsullied realms of Art.

Along the way, your title may change, you’ll see a few possible ideas for its cover, (which you won’t have the power to change, only consult on), and work closely with your editor, making whatever changes s/he requires. Your manuscripts will be copy-edited and possibly checked by the publisher’s lawyers to make sure you and they can’t be sued successfully.

If it all goes well, within 18 to 24 months at the earliest, your book will be available to readers and you’ll sit there, gnawing your fingernails, waiting to see if they, and critics, like it.

Ready?!

 

 

 

A week in my life as a freelance writer

By Caitlin Kelly

 

IMG_20160617_102113083 (2)

Ohhhh, so glamorous!

Not.

At the moment, which is blessedly almost unheard of, I actually have no assignments at all. That means, no income for this month. That means, (thank heaven we have one) dipping into our emergency fund. At least my husband, a freelance photo editor, does have steady work.

For those new to Broadside (welcome!), here’s my website.

I’ve been fighting a cold, sleeping 3.5 hours one afternoon to give my weary body a rest — but also heading 25 miles into Manhattan to meet with friends visiting from far away: a retail expert I’m Twitter friends with and hadn’t met before, from D.C.; a former New York Times story source, who then lived in the Middle East and now lives in London and who I last saw at my birthday party in Paris in June, and a bilingual young friend I met at a writing conference in New York who’s from Montreal and is (yay!) moving to Paris.

I’m excited for her — ditching a well-paid corporate career, selling her condo and most of her belongings — and, single and bold, heading into a great new adventure. I had a life-changing year in Paris when I was 25 on a journalism fellowship so I hold tremendous affection for that city and what spending some focused time there can produce.

Next Monday I’ll meet a talented writer who lives in Mexico City and with whom I’ve only, so far, traded notes with in an on-line writers’ group. Then have coffee with another younger writer, a New Yorker back home after years living in Berlin.

So many writers’ relationships now, working alone at home or in a co-working space or library or cafe, are virtual that I’m eager to meet face to face whenever possible.

 

malled cover LOW

My second book

 

I also sent a book idea recently to an agent — whose name and phone number a writer I’ve never even met shared with me. This is, at is best, what a successful career in this business will produce — sufficient affection and respect for one another that we boost those whose work and ethics we admire.

People often wonder: How do you find an agent? Once you’re established, often by a referral like this.

To my delight, the agent called me back that same day saying: “I know your work.” Whew!

 

Because, honestly, there are days, weeks and years it’s too easy to feel invisible and hopeless, watching the Big Name Writers win awards and grants and fellowships and adulation, especially here in New York where people are, ahem, quite vocal about their success.

 

Being modest can feel weird and self-defeating.

So I burbled out my idea to this agent and he listened and said: “Tell me more.” I sent a bare-bones outline.

He didn’t like it, but said, “Let’s keep talking.” So I thought hard and brainstormed with five smart women friends, several fellow writers and a few who aren’t, to help me refine my thinking and expand it.

One of them thought the idea not useful at all, which was worth hearing — and offered an insight I hadn’t considered that was valuable and which I incorporated into the second iteration.

It worked!

 

Simple Giving_mech_v4 flaps.indd

This book is by one of the friends whose wisdom I consulted…

 

I’m meeting my new agent, the sixth I’ve worked with, next week.

But, now comes even more unpaid hard work, a larger gamble for both of us, as I produce a full book proposal, which is much less literary than a hard-sell document filled with promises — our goal to win an offer from a major publisher and one big enough I can actually afford to stop most other work for a year or more. Book advances are now paid out in quarters, (thirds if you’ve got some clout), which means a long, long time between payments, from which your agent first deducts 15 percent.

So, if you’re really lucky and get, say, a $100,000 advance (rare!), you’ll net about $28,000 (pre-tax) per instalment — which, in a place like New York, really won’t even sustain a year’s living costs. I know Big Name Writers with full-time well-paid jobs who turn down a book deal because they can’t afford the drop in income.

 

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 obsessions

 

I’m eager to write more books, though, as basic story-telling already pays poorly and, isn’t sufficiently challenging. I’ve been doing this work for decades, and want to produce deep, smart work — which very few places now have the space or budget for.

I also applied last week for a cool staff job at the Washington Post, because, what the hell? Why not? I asked a friend who’s a writer there who encouraged me, and then (deep breath) took what for me is a huge risk and asked someone for their help. She’s a Big Name Writer at the Post who I deeply admire and met in person in June 2016. We follow one another on Twitter, but that’s the depth of the relationship.

She said she would mention me to the hiring editor and say good things.

I was grateful as hell, stunned at my good fortune. It’s very difficult for me to ask others for help.

I also, being ill and exhausted, sent out some LOIs (letters of introduction) to editors, spoke to one by phone about possible assignments and emailed back and forth with several others.

Still waiting for payment for work already published.

 

So much of this business isn’t writing, but finding and nurturing relationships with the people — agents, editors, fellow writers, grant and foundation judges — who need to place their trust in you: to be accurate, to be ethical, to be a decent person to work with, to not miss deadline.

 

I listened to three interviews with writers and editors from the Longform podcast, one of them the editor of a Big Fancy Magazine which emboldened me to send him a pitch.

If you’re interested in journalism, writing, publishing, media, this series offers 277 podcasts and you will learn a lot, and gain some useful insights into who wins the Big Fancy Jobs, when, how and why.

So, even though I haven’t earned a penny this month (!) it’s actually been great.

 

As we say in New York, go figure!

 

 

Last Men in Aleppo

By Caitlin Kelly

If you haven’t yet seen this documentary about the White Helmets — a volunteer group that races to the scene of attacks in Syria — it’s a must.

It won the Sundance World Cinema Grand Jury Prize in 2017; Sundance (for those not into film) is considered the U.S.’s most prestigious annual film festival.

I saw it last night.

But it’s not an easy 104 minutes, and I found myself crying this morning as I thought through all the images and sounds it contains:

— a father weeping as his six-year-old son is pulled, dead, from beneath the rubble

— the terrifying sight and sound of a rainfall of incoming bombs

— a car on fire with two civilians in it

— the hammering of an excavator trying to unearth the latest victims

— the challenge of not having enough body bags for all the corpses and body parts they encounter

— the men trying to decide — by looking at a foot they found — whether it’s one of their friends.

It is a searing and unsparing look at daily life in hell.

You can buy it here for $14.99.

And yet, and yet, the director, Feras Fayyad, was wise to also include much laughter and joy, the men singing and even taking a sunny, if brief, day out in the playground, with a bunch of their delighted little kids, to leaven the brutality.

It’s too easy to think we know this place or to not care about it — but here’s a little girl and her Dad going to six Aleppo pharmacies to try to find vitamins because her hands are now weakened by malnutrition. There are none to be found.

Here’s a couple going to get married, in the middle of death and destruction.

Here’s the men buying a bag full of goldfish, perhaps the most unlikely purchase imaginable in what is basically a war zone, combing the city to find enough water and then filling a fountain with fish and water.

With hope.

That’s reporting.

Here’s a brief video clip of Fayyad — who was twice imprisoned and tortured — discussing why he made the film.

To bear witness.

As a journalist in New York, I get invited daily to events meant to promote new products and services, hotels and restaurants. I ignore 99.9 percent of them.

But I’ve long been deeply intrigued by the White Helmets and their work.

Not even sure how I ended up on this press list — as the room was filled with industry folk being asked to vote as Academy members on its merits — but I’m so glad I had the chance to see it, and a brief Q and A in the room with its director, who is now making a second film about a female doctor working there, and having to sneak back into his own country to do so safely.

My father made documentaries for a living, so I’m fascinated — both as a journalist and a lover of film — by how and when these stories are filmed and told.

I’ve read a lot about the war in Syria, and knew of the White Helmets, but never viscerally understood what they do, why they do it and the tremendous physical and emotional toll if takes.

I urge you to see it!

 

 

Journalism: a statement of principle

By Caitlin Kelly

IMG_20170411_131322486

My husband’s team Pulitzer prize…

 

Some of you might be readers of The New York Times, a newspaper some consider the best of the U.S. press, and my husband’s former employer of 31 years. I also write for them, freelance, several times a year.

The paper now has a new publisher, a member of the same family that bought it in 1896.

He, A.G. Sulzberger, wrote this:

The Times will continue to search for the most important stories of our era with curiosity, courage and empathy — because we believe that improving the world starts with understanding it. The Times will continue to resist polarization and groupthink by giving voice to the breadth of ideas and experiences — because we believe journalism should help people think for themselves. The Times will hold itself to the highest standards of independence, rigor and fairness — because we believe trust is the most precious asset we have. The Times will do all of this without fear or favor — because we believe truth should be pursued wherever it leads.

I’m not an apologist for the biases, errors and omissions made by thousands of fellow journalists. There’s much that still needs tremendous improvement, including hiring, training and retaining many more non-white and female voices and viewpoints.

But as someone who’s been chasing facts for decades — and reporting everything from 9/11 breaking news to investigative medical reporting to covering a Royal Tour — I believe deeply and passionately that smart, tough, responsible journalism is needed now more than ever.

Winner of a National Magazine Award in Canada, I’m immensely proud of the work many of us do and I know why many of us still do it, even in an industry roiled with change and uncertainty.

(Here’s my website, which contains some of my work.)

Within its ranks are new and impassioned calls for greater transparency about what we cover, when and why.

 

carr service01
The New York Times newsroom

 

At its best, journalism’s role includes:

— Explaining a complex world to an audience who may lack the time, education, training, experience — or curiosity — to gasp the implications of public policies that affect them, whether a local school budget or commitment to billions of dollars in tax cuts.

— Explaining scientific advances, (and de-bunking falsehoods),  that help audiences stay healthy, whether the environment, public health issues, (now that Trump has fired his entire HIV/AIDS council) or personal health.

— Holding the powerful accountable for their actions. In an era of stunning plutocracy and lax corporate governance, it’s essential for business journalists to uncover and explain to us all the implications of key business decisions, whether shutting a plant and throwing thousands out of work or striking a deal with local, regional or federal governments.

— Examining the actions of elected officials at every level and how they’re spending taxpayers’ hard-earned dollars.

— Seeking out and telling the stories of the poor, marginalized and under-funded who lack ready access to the noisy and powerful machinery of public relations and lobbyists.

— Sharing the successes (and failures) of NGOs and social service groups as they work to relieve struggle, locally and globally.

— Reporting on every form of culture, from ‘zines to opera, because the arts remain an important part of life, and employ millions of creatives.

 

Yes, many journalists do see the world from a left-leaning lens, with the underlying belief that — in the industry cliche — it’s still, ideally, our essential role to comfort the afflicted and afflict the comfortable.

If you’re firmly persuaded that we all wake up each morning determined to spread lies and create “fake news”, there’s likely little I could say to dissuade you.

I will say that most of the journalists I know, no matter their age or place of residence, are people whose primary goal is a shared one: to tell compelling stories to as many people as often as possible.

Truthful ones.

Ones backed by provable, checked facts.

And, if you want to better understand what we do and why we do it (and how much we think about trying to do it better! you might consider following news from the Neiman Lab, the Columbia Journalism Review and Poynter, to name only three sites dedicated to smart coverage of the issues working journalists still care about.

And this very long, very detailed story  by James Risen on The Intercept, about long and protracted battles between the White House and The New York Times, (and internal editorial battles most readers have no idea about) is an absolute must-read to understand the incredible pressures some reporters face to suppress the truth.

 

 

The tribe meets — what journalism is really about

By Caitlin Kelly

 

Cathaleen Curtis church

St. Mary’s Episcopal church, Arlington, Virginia, where the memorial service was held for Wallace McNamee, his childhood church.

Photo by Cathaleen Curtis, director of photography, the Buffalo News.

 

I’ve been a journalist since my first year at University of Toronto, and published in national magazines and newspapers since my third year there.

It’s my life — if you’re curious, here’s some of my work.

It’s a life that makes intellectual, physical and emotional demands specific to the business.

We, at our best, share a clear (rarely explicitly discussed) set of values that resonate for those working in nations with a free press — albeit also under the heavy hand of free-market capitalism that makes even the very best job temporary.

If you’ve worked in any form of hard news journalism especially, whether photo, video, digital, print, television or broadcast, you share with thousands of colleagues worldwide the same challenges and experiences:

— balancing the need for speed, to beat every possible competitor, with the need to be 100% accurate

— discerning the many lies and omissions and distortions fed to us by the powerful into a report that, we hope, will help our audiences better make sense of their world, whether climate change, new legislation, economic issues

— working with very few resources (low pay, no assistants or secretaries or researchers)

— entering a cut-throat world where there’s always someone younger and cheaper ready to grab our hard-won spot

— knowing your value is only as great as your last story, not the prizes, awards and fellowships you’ve also collected

— having to persuade scared, dubious, wary sources to share with us their data and images to help us tell our stories thoroughly

— sometimes working in conditions that are dangerous, or merely extremely uncomfortable (heat/rain/conflict zones/war zones/the aftermath of natural disasters)

It all creates a bond that runs deep and strong, knowing that everyone in the same room gets it.

 

We recognize it immediately in one another, members of a far-flung tribe. 

 

We tend to share characteristics: we’re self-reliant, funny, wary of draaaaaama, able to put strangers at ease quickly, brave, badasses, typically pretty humble, (because we all know someone who’s done similar work much better/sooner than we have!), willing to challenge any form of authority to get the story — and incessantly curious about the world, even after decades of examining it closely.

That can make meeting someone new, even one much younger or older, staff or freelance, editor or shooter or writer, as comfortable as meeting a familiar friend.

I’m the veteran of three major daily newspapers, the Globe & Mail (Canada’s national daily), the Montreal Gazette and the New York Daily News, and have written television news and thousands of articles for everyone from Reuters and bbc.com to Marie Claire.

And every day, like my colleagues, I now watch in dismay as our industry keeps firing people like me — people who know what we’re doing, people readers and viewers rely on.

In the past few weeks alone, Ontario towns lost 33 regional newspapers as they were closed down for good, and new owners fired the entire staff of the L.A. Weekly, a respected newspaper — instead asking its readers to offer unpaid work.

Seriously?

 

Wally by David Humer Kennerly

Wallace McNamee; photo by David Hume Kennerly

 

Last weekend, more than 200 veterans of our business, many of them white-haired, gathered in a church in Arlington, Virginia, for a memorial service for Wallace McNamee, one of American photojournalism’s greats.

If you’ve been looking at news photos, in any medium, you’ve seen his work; his, like many of them, were the eyes recording history: elections, assassinations, pop culture, war.

My husband, a career photographer and photo editor at The New York Times for 31 years, knew and worked alongside McNamee in D.C., as did many of the men and women there — some editors, some competitors, all of us gathered to share their love and respect.

Colleagues and friends arrived, as we did, from far away, former awed interns now running the nation’s largest photo agencies and choosing images for its most influential publications.

Two photographers I’d never met both told me the same thing about Wally: “I was the new kid in town. I didn’t know anything and he showed me the ropes.”

Not the typical image of the sharp-elbowed, conscience-free “journalist” you may be more accustomed to.

If you maintain the skewed, ignorant and toxic notion that “all news is fake”, I wish you’d been there in that small white church, sharing the crowded pews, to witness what, at its best, our business really is about.

 

Avoid a predator — read “Dirty John”

 

trust-torn

By Caitlin Kelly

This is a must-read for any woman dating people she doesn’t know well or hasn’t met through people she completely trusts.

If she’s easily prone to being quickly wooed, beware!

It’s a new six-part series, and podcast, from the L.A. Times, by Christopher Gofford, and took more than a year to report.

It’s the true story of a multiply divorced California woman, a financially successful interior designer — desperately lonely — who was targeted by John Meehan, a con man.

It’s terrifying, compelling and an essential read to understand that:

— such men exist

— such men seek out victims and select them carefully

— such men groom their victims, love-bombing them with gifts and cards and “kindness”

— failing to ask why they’re so “kind” to someone they barely know is imprudent

— such men quickly insinuate themselves into their victims’ lives

— such men are sociopathic and vicious when exposed

— such men are professional liars and who, really, will others believe — them or you?

 

I know this because I’ve also been a victim of one.

 

In December 1997 I met a charming, handsome, intelligent man who — within a few weeks of meeting me — brought a pot of home-made soup to my door, bought me gifts and told me repeatedly how much he loved me.

He pretended to be a successful lawyer, a partner in a three-person downtown New York City law firm, complete with engraved stationery, business cards and other “evidence” of his false identity; in Chicago (where his exploits made front page of the Chicago Tribune) he’d posed as a doctor, using a business card with impressive initials that anyone who knows medicine would instantly know was fake.

He kept proposing marriage, sending dozens of emails and cards attesting to his immediate attraction and devotion, as did John Meehan, a standard MO for con men. (I found this weird and excessive, not romantic.)

It took me longer than it should have — (lonely and insecure = vulnerable) — to flee his clutches, at which point, like Meehan, he began threatening me and my family. Not with physical harm, as Meehan did, but in my case called my local district attorney to lie about me; as someone who lives in the U.S. as a resident alien (i.e. not a citizen) he knew this could make my solo life difficult. And knew, even irrationally, I feared that.

I was terrified by his screaming phone calls, and stayed at a friend’s home for a few days.

As did Meehan’s victim, I hired a detective, a former NYPD policeman, who quickly discovered and told me the sordid truth.

By that point, the guy had stolen and opened my mail, activated my new credit card and used it, forging my signature — all felonies.

The police and district attorney all laughed in my face. It was “only fraud” they said.

“No harm done,” they said.

Because “my” con man was careful to steal only a certain amount from each of his many victims, the banks didn’t care — it’s a cost of doing business to them.

Because the amounts were small enough, (typically $1,000 or less), the credit card companies also wouldn’t chase him and prosecute — and the costs of this fraud is built into our interest rates.

Because the women he victimized were so embarrassed and ashamed or police disbelieved them or DAs wouldn’t take on their cases, he was rarely arrested, prosecuted and convicted.

Because the women he chose to steal from should have known better, should have asked tougher questions, should have dumped him fast, their friends and family — like mine —  were furious at our stupidity and gullibility.

These men (and women!) lie for a living.

Like Meehan, the man I was victimized by is now dead. Thank God.

A book I highly recommend to every girl and woman is The Gift of Fear, written by a security expert, with a one page checklist of warning signs. It clearly explains how the way women are socialized to be “nice” and compliant can endanger us.

 

I urge everyone to read this series or listen to the podcast — and share it with women you know and care about.

 

It’s highly instructive and shows how to spot the warning signs of a similar predator.

If you recognize them, please flee, fast.

They’re out there.

Why editors matter more than ever

By Caitlin Kelly

 

nyt

 

Although you might not assume so, this post has been multiply edited, if only by me — albeit a career journalist, writing teacher and writing coach. (Here’s my professional website, if of interest.)

The point of a real live human editor is to have someone smart do this to your copy as needed. 

Today, there’s a widely-shared myth that writing means you simply bang out a bunch of words as they occur to you, hit “send” or “publish” and you’re done!

That intense feeling of Ihavetosaythisrightnow? Not your best product, most likely. You might feel done — but your public and permanent offering might also be misspelled, ungrammatical, incorrect, dull or confusing.

At worst, all of these.

We all need editors!

When I teach writing, and blogging, I emphasize how essential it is to re-read, revise,  and repeat the process, many times. Some of my blog posts have gone through 10 or 15 revisions before you see them — I change words, clarify my thoughts, delete or add.

Very few writers can’t benefit from fresh eyes and ears on their material, whether they’re writing poetry, fiction, non-fiction, journalism or a blog post.

 

malled cover HIGH
My second book, published in 2011

 

I was fortunate indeed to have a very tough editor on my most recent book, Malled: My Unintentional Career in Retail, which was published by Portfolio, a major New York City house focused on business. Next time you sneer: “It’s not rocket science!” remember that my editor had previously worked for NASA…

I turned in the manuscript, which was about 100,000 words and had taken me about nine months to produce, and got back what, in the industry, are known as “notes”.

There were a lot of them, including her approval of Chapters 11 and 12.

“What about Chapters One through 10?”! I wailed.

Revision city, kids.

 

stackbooks

Every book goes through an editor — usually several!

 

Being a cynical sort, I sometimes wonder how many revisions a published story or book has been through — one best-seller, its editor told a writing conference, needed twelve.

A young journalist I know came within a hairs’ breadth of winning a very prestigious award and received huge accolades for her story; I saw its first draft and knew what a heavy lift it had been for her and various editors, including me, to get it to that point.

Nor did she ever bother to publicly thank me for my help, which rankled.

The New York Times, for which I write freelance, has recently cut its copy editing staff, preferring to hire more reporters. Now I’m seeing more errors in the paper — like the word “et” (albeit a French word, but that’s what editors are for!) instead of “est”.

And good editors do a lot more than correct spelling mistakes.

 

Can your writing or blogging use fresh eyes, or some sharpening?

I offer one-on-one coaching and individual webinars, in person (NYC-area), by phone and by Skype.

Details here and here.

 

 

The writer’s week — mine anyway

By Caitlin Kelly

IMG_20151027_081113939
Asked by journalism students for writers I admire, I named this great book by a British Airways 747 pilot

 

WHEW!

 

So much for the Labor Day weekend; a client expected a full revision of a 3,000-word story due first thing Monday. Holiday? What holiday? Good thing I had no plans.

designmags

One of my sales this summer was my first story for House Beautiful

 

Chased a story all week that I think could be a terrific one, but will also require an editor to pay some travel expenses, which many hate to do. It’s not, like most stories I work on now, something I can report by phone or email, and will be in a different U.S. city. The process of getting to a story is rarely linear; this one involves someone I know who made an introduction to the publicist for the event who will decide if I can have access to it. If she says yes, then I still have to write up a persuasive pitch and sell it to an editor who can pay me enough money to make the story even worth doing financially. It’s a fun story, but I have to make money at this.

Journalism is my business, not a hobby!

 

BUSINESS OF FREELANCING

 

I was invited to address a room full of graduate journalism students at CUNY, in midtown Manhattan. I joined a sports reporter/editor and a radio news reporter whose voice I’ve heard on-air for many years. That was cool! The host of the event is a man who lives in D.C. who I “met” via Twitter and had only spoken to once by phone. So much of our industry is finding like-minded souls with solid credentials. He and I met for breakfast and had a great time getting to know one another.

I found it amusing and telling that — when he asked all three of us to offer three pieces of advice to new journalists  — we all agreed that get some sleep was key.

 

IMG_20170907_074151571_HDR

My suburban New York train station, Tarrytown

 

I do a lot of this sort of thing — for no payment. My trainfare just to get into New York City was $31, plus cab fare plus lunch. The day was pretty much shot for getting any work done, but I really enjoy meeting new people and seeing my friends so it’s all a good investment of time and energy. I like working alone at home but it gets really lonely!

 

IMG_20170907_143411794_HDR

 

Met a fellow journalist friend, (now job-hunting), for lunch, a late lunch at one of my favorite restaurants in New York City, Keen’s Chophouse, in business since 1885. I love its black and white tiled bar-room floor, the rows of 50,000 clay pipes wired to the ceiling, its frosted glass windows making the noisy, bustling city outside disappear. We each had a busy summer — she went to Israel and I went to Europe.

 

IMG_20170907_143339776

 

Last year, a young friend of mine worked in Asia as a photographer and, in Thailand, met a young woman who read (!?) my blog. Unlikely, but true. This week, we spoke via Skype as we discussed a project she hopes to work on independently, now that she’s back in the U.S. and working at a newspaper in a western U.S. state. I love coaching other writers, so if you need help, check out my webinars and classes here.

 

Called the French farmer I’m going to interview, to confirm our meeting. I love being able to work in French but haven’t done it since I was a reporter at the Montreal Gazette. I normally don’t use a tape recorder but will take one this time for back-up.

 

IMG_20170907_191536662

Spuyten Duyvil train station, as the commuter train heads north along the eastern shore of the Hudson River

 

20130729134103

 

Took Amtrak from a station near our home to Montreal, a city I lived in in my late 20s and for a year when I was 12. It’s a fun city to visit, with great food and lots of charm. I went north to report a story, working in French, for an editor in Alabama. Met a new young friend for brunch at Beautys a classic Montreal diner, in business since 1942 — she’s someone I heard speaking at a conference in New York last spring and stayed in touch with. (FYI, Beauty’s should have an apostrophe — but Quebec language laws insist that all signage and names be in French.)

Found my little gray coin purse where I keep my Canadian money and my Canadian bank card; I grew up in Toronto and Montreal and we go back at least once or twice a year. I miss my home country, especially now when every day in the United States offers yet another political and/or environmental disaster.

 

Got an update regarding the late Kim Wall, a 30-year-old fellow freelance journalist, whose death I blogged about here:

The Kim Wall Memorial Fund was established by her family and friends to honor Kim’s spirit and legacy. The grant will fund a young female reporter to cover subculture, broadly defined, and what Kim liked to call “the undercurrents of rebellion.”

The funds collected will be directed to the International Women’s Media Foundation, a steadfast ally to women journalists, who have agreed to support and administer this grant

 

 

Think it’s all “fake news”? Try living without it

By Caitlin Kelly

trump-tv

American journalists are now in a defensive crouch, thanks to a President who attacks us, our work, our ethics and our intent every single day.

I’ve been working as a journalist for more than 30 years, published in The New York Times, Washington Post, Wall Street Journal, Irish Times, VSD, The New Zealand Herald, Sunday Telegraph and dozens of magazines.

I was a staff reporter at the Globe & Mail, Montreal Gazette and New York Daily News.

I love what I do and I’m proud of (most of!) our work.

 

I’m sick of hearing my industry and my colleagues maligned!

 

From The New York Times, (to which I contribute freelance):

Yet there he was in Phoenix on Tuesday, telling a crowd of thousands of ardent supporters that journalists were “sick people” who he believes “don’t like our country,” and are “trying to take away our history and our heritage.”

 

Let’s review:

Most journalists make little money. Some, like the late Kim Wall, have attended some of the most rigorous colleges and universities to learn our craft. While a corporate attorney fresh from law school might expect to make $150,000 to start — and millions if they work as a lobbyist or make partner at a major firm — only the highest-paid journalists, (those in television, a few columnists), will ever become wealthy through our work, regardless of skill, talent, experience or awards.

Unlike people who get up every day driven by profit and money (hello, billionaires), we do this work because it matters to us and to our audience.

Our work is team-oriented, not all about Big Stars who preen and strut and insist on our constant fawning and genuflection. There are some in this stratosphere, but everything you read, hear and see is the result of intense and focused teamwork, egos be damned. Yes, we make mistakes, but not for lack of effort — my Times stories are read and reviewed by three editors, each of whom can grill me for further detail.

— Journalists who lie and make shit up are quickly found out, shamed and fired. In a private business, people can (and do) get away with many forms of chicanery, unnoticed. CEOs of public companies make out financially for years like bandits regardless of their personal ethics.

— We don’t have to carry or show a press pass to do our jobs. We don’t have to pledge allegiance to anyone, a fact that makes some people very angry. How dare we think independently!

Our job (at its best) is to challenge authority, to read the fine print in annual and corporate reports, to FOIA the hell out of reluctant government agencies. It pisses some people off that we don’t just lie down and give up. Too bad.

— How exactly does Trump, or anyone, know whether or not we “like our country?” As if being critical of liars and cheats, dismantling false promises and fact-checking endless assertions is…unpatriotic.

As if “unpatriotic” even matters to us.

That’s not why we do what we do.

Also from the Times:

An element of presidential leadership that we are all taught in grammar school: its broad influence — how it can set a tone for others to follow.

Yes, mistrust of the media was growing even before Mr. Trump emerged on the political scene. But this much is unmistakable: The president is significantly adding to what is, without question, the worst anti-press atmosphere I’ve seen in 25 years in journalism, and real, chilling consequences have surfaced, not just in the United States, but around the world.

We do this work:

— to help audiences better understand a complex world, whether business, science medicine, politics, technology, environment.

— to hold the wealthy accountable to the remaining 99% of us. In an era of income inequality unprecedented in a century, it’s our job to question those grabbing the levers of political and economic power.

— to correct injustices: corruption, false arrests, police brutality, sexism, racism.

— to explain disparate groups to one another, presenting as many perspectives on an issue as possible. (Yes, many outlets skew hard right or hard left.)

— to connect the global economy to audience’s personal experience.

Yes, some of what we do is awful.

Some of it is wrong.

Some of it is poorly reported, poorly edited, poorly written.

It’s gotten so bad that a major women’s journalism group, The International Women’s Media Foundation,  issued a statement in reply to Trump:

“Journalists take incredible risks to bring us the truth.”

GLOBE

 

Would you really be better off with no news at all?