The allure — and falsity — of Instagram

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all images: Caitlin Kelly

 

By Caitlin Kelly

Are you a big Instagram user?

I only started posting — usually three to four images a day — about a month or so ago. My long-term goal, possibly, is to sell my images to interior designers and stagers, people who furnish and decorate homes for sale. I began my career as a shooter, and have sold my work to The New York Times, Time and the Washington Post,  so we’ll see.

 

My work: @caitlinkellynyc.

 

I’m enjoying it for a few reasons, which are very different from my frequent use of Twitter and (sigh) Facebook, whose behavior has proven so deceptive and appalling it’s difficult to use it now in any good conscience.

 

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What I like about Instagram:

 

Non-political. It’s not filled with people ranting endlessly, let alone arguing with others, about their specific causes.

Global. I’ve been stunned (and delighted) by literally instant responses to my images, from a 13-year-old fellow baker in Britain to an auto body shop in Brazil to an Istanbul photographer.

— Not just photos, but photos of some of my favorite passions: pilots and their airplanes (especially women!), vintage clothing, jewelry and flowers.

Creative inspiration. Photos of places I long to visit; interior design; terrific art and ceramics, like the guy from Australia who hand-painted exquisite blue-on-white tall vases. I found a young British art student, Kat Thomas, (katt_artt)  whose work is spectacular.

— Playful connection. I snapped a pair of studded black leather boots on a red carpet at the Met Opera in Manhattan, then spotted an almost identical image, by an Italian man, of his cool studded black boots on a red carpet. I suggested he check out my picture, and he did. Silly? But fun!

It’s sharpened my own gaze. Thanks to the camera in my cellphone, an IPhone 7, I’m forever seeing, appreciating and capturing beauty around me, night or day, rain or shine. On a recent foggy, rainy morning I hastened to get out to our local reservoir to snap some images. I’m so glad I did because by afternoon, skies were clear and the mood was gone.

 

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What I dislike:

Selfies. Just stop. Seriously. I don’t get why people keep posting image after image after image of themselves! When someone follows me, and I see nothing but selfies, I’ll never follow back.

Endless self-promotion. Yes, Insta is a great place to promote your product or brand. But enough!

Too much photo manipulation. I’m old school! I began my career shooting film, so when I see images that have been heavily manipulated and filtered, I often flip away fast.

Too much lifestyle content, posed and perfect. Many of the most popular sites are perfectly posed and lit, whether of people carousing (usually white, thin, young people) in trendy/cool places or of food or tourist-y moments. Insta is a place for people to escape into fantasy, but it’s also feeding some tremendous envy and resentment.

Why can’t I ditch my messy life today and live on a Greek island, too?

 

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Do you use and enjoy Instagram?

 

A week in the writer’s life #MissingAZero!

By Caitlin Kelly

 

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What a week, kids!

Here’s some of it:

Negotiated with three different teams of PR people to set up a phone interview with (shriek!) shoe designer Manolo Blahnik. They shift the time of the interview, meaning I have to suddenly shift three competing events in my day to accommodate. This is all very normal in the world of celebrity PR, which is why I generally avoid it. (They called me from London and he was so nice! What a thrill!)

Pitched a new-to-me editor on a story that would require, ideally, a trip to a distant and remote Canadian destination. It’s a great story, but so few outlets have the budget for travel now, (let alone pay enough or offer enough space for a longer piece), and the ones that do are focused on luxury and high-net-worth readers — which attract lucrative ads from companies like Gucci and Vuitton. One reason there are so very few stories about the poor and struggling — you can’t sell ads against those pieces.

Pitched another new-to-me editor whose ideas are quite different from mine. “We’re getting closer,” she said. Not sure how much more energy I want to pour into a speculative project.

Checked the pay rate from The Independent, a British newspaper, when an editor called out online for op-eds. $150. #MissingAZero! Our health insurance costs $1,400 a month.

 

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So much wasted time!

 

Asked three fellow journalists, two good friends, one an acquaintance, to participate in a book project. I anticipated their eagerness to help, and instead was met with resentment by one and silence by another and reluctant agreement by a third. Disheartening.

Invested half an hour interviewing a guy whose social justice work might make a great story — if I can find someone to buy it. Asked him where he attended university, (since successful alumni profiles are often an easy sell.)

The editor of his college alumni magazine says, yeah, we use freelancers — and offered $250 for a story.

The editor of a story I submitted more than three weeks ago, (who I had to email three times to follow up), asked me to hold it for another few weeks for a timelier story to run first. The only acceptable answer? “Sure” — which means another month before I get paid. I only get paid after it’s used.

 

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Back to Montreal!

 

I set up a meeting for early May near Montreal to interview a farmer, my second such assignment for a farming magazine. Glamour! In fact, it’s a lot of fun and I’m delighted to get outdoors, work face to face, and get a paid trip back to Canada.

I taught my final two writing classes, of four nightly classes, of this semester at the New York School of Interior Design, where I studied in the ’90s. The class only had four students enrolled and one never even showed up. Another skipped the last class and didn’t do the work. I found this depressing. The one diligent student, luckily, was terrific. She worked really hard and is a lovely writer. But seriously?

Honored to be included with other women journalists, and called both smart and generous in this piece, which ran on a very high profile site in our industry, Poynter.com, on how to survive tough times in journalism.

Read this deeply depressing article on Columbia Journalism Review, about how frequently editors simply “kill” stories — and pay a fraction of the agreed-upon fee when they do. This deeply cuts the income a freelance writer relies on, and is a practice I know of in no other business.

In my 30-year career, I’ve had very few stories killed, (thank heaven) but it hurts. The last one, January 2015, cost me $900 in lost income. What we often end up doing, (angrily and quietly), is taking a financial hit to retain the working relationship. The editor keeps collecting their salary while we scramble to replace income we expected to earn — that we’re not going to receive.

From the CJR piece:

My ultimate hope, as a person from a family with deep roots in organized labor, is that one day freelance writing will be sold through a kind of union hiring hall, similar to that utilized by unions in the building trades. But that goal will entail a lot of self-help: holding other writers, particularly academics writing solely to burnish their “brands,” accountable for writing for exposure; sharing information about pay rates and editorial practices; and ensuring that all commissioned stories, however small the offered rate, come with contracts that specify detailed procedures about kill fees.

The sad truth of my business is that few work well with others, sometimes instead cutting their own very best deal — and the hell with everyone else. I rely on wide, deep networks of people to be honest with me about what they’re getting paid, or not. Only then can you discover (to your horror) how badly you might be getting screwed — and how much better you need to negotiate.

Coached a fellow writer by phone, my happiest and easiest income of the week, $225 for an hour of my advice. (Interested? Details here!)

 

The best part?

 

Took a hooky day! I visited one of my favorite museums in New York City, the Neue Galerie, a gorgeous Beaux Arts mansion on East 86th. Street bought by Ronald Lauder, (he of the Estée Lauder cosmetics fortune.) It contains, among many other items, a legendary  portrait of Adele Bloch-Bauer, painted in 1907 by Gustav Klimt, for which Lauder — in 2006 — paid a staggering $135 million. I went to see a powerful show of German and Austrian art before and after the rise of Hitler.

The show ends May 28; if you can get to it, go!

Having recently watched the TV series Babylon Berlin, which I blogged about here, I’m a tad obsessed with the Weimar Republic and want to learn more about it.  Treated myself to a cake and coffee in the museum’s popular and elegant Cafe Sabarsky, one of the prettiest rooms in New York. Bought three books on the Weimar period — ready for the next two weeks’ break, visiting friends and family in Ontario.

 

 

How much information is just too much?

By Caitlin Kelly

 

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While this blog, on paper, has 20,000 followers, fewer and fewer are arriving and commenting.

I could take it personally, (and maybe I should!)

But I think we’re all overloaded: Twitter, Reddit, Pinterest, Instagram, Facebook, et al are sucking the life out of us and reducing what little attention we have left to give —  beyond that for work, family, friends and life.

The New York Times ran two recent stories addressing this.

One, by their tech writer, discussed whether reading news in print, i.e. much more slowly and in lesser volume, was a wiser choice.

It was.

Avoid social.

This is the most important rule of all. After reading newspapers for a few weeks, I began to see it wasn’t newspapers that were so great, but social media that was so bad.

Just about every problem we battle in understanding the news today — and every one we will battle tomorrow — is exacerbated by plugging into the social-media herd. The built-in incentives on Twitter and Facebook reward speed over depth, hot takes over facts and seasoned propagandists over well-meaning analyzers of news.

You don’t have to read a print newspaper to get a better relationship with the news. But, for goodness’ sake, please stop getting your news mainly from Twitter and Facebook. In the long run, you and everyone else will be better off.

And this, admittedly by man with a highly unusual life — no need to work and no need to interact with anyone every day:

Right after the election, Erik Hagerman decided he’d take a break from reading about the hoopla of politics.

Donald Trump’s victory shook him. Badly. And so Mr. Hagerman developed his own eccentric experiment, one that was part silent protest, part coping mechanism, part extreme self-care plan.

He swore that he would avoid learning about anything that happened to America after Nov. 8, 2016.

“It was draconian and complete,” he said. “It’s not like I wanted to just steer away from Trump or shift the conversation. It was like I was a vampire and any photon of Trump would turn me to dust.”

It was just going to be for a few days. But he is now more than a year into knowing almost nothing about American politics. He has managed to become shockingly uninformed during one of the most eventful chapters in modern American history. He is as ignorant as a contemporary citizen could ever hope to be.

I get it.

I have online subscriptions to The Washington Post and the Wall Street Journal — and never use them.

I read The New York Times and Financial Times seven days a week, plus about 20 weekly and monthly magazines. Plus Twitter and Facebook and some blogs.

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Plus television and radio.

And I feel increasingly angry and powerless by “knowing” about so much I can do little or nothing to change:

— that the U.S. has a President who lies every day and has sex with porn stars (and lies about that)

— that Yemeni citizens are dying of cholera

— that hundreds of Syrian children are being killed as I write these words.

There’s only so much impotence one can tolerate.

There’s only so much noise one can stand.

There’s only so much “news” one really needs.

I’m reaching my limit.

 

How about you?

Is social media really social?

By Caitlin Kelly

ALL IMAGES COPYRIGHT CAITLIN KELLY 2013.

I really enjoy social media — but I see such mixed results.

Women who speak up about contentious issues are harassed, bullied, doxxed. Some, in desperation, end up fleeing Twitter and other platforms, blocking everyone who attacks.

I’ve had a few bad experiences there as well, but thankfully most of my social media experiences have been pleasant.

I recently started using Instagram.

My site is caitlinkellynyc...and I’m enjoying the wild mix of people who like my photos — from an auto-body shop in Brazil (a photo of a vintage air machine) to a trekking company in Nepal.

I have, as you know from reading here, extremely eclectic interests, so my Insta feed includes flowers, vintage clothing, travel photos and lots of female pilots.

Thanks to this blog, and through reading theirs, I’ve made friends in real life with  Cadence, author of Small Dog Syndrome in London and Kate Katharina Ferguson in Berlin.

Thanks to Twitter, I also met up in Berlin with Jens Notroff, an archeologist who works on Gobekli Tepe, a 12,000 year-old Neolithic site in Turkey and Dorothée Lefering, a travel blogger whose post about Rovinj, Croatia impelled me to stay there for a glorious week last July. I’d never even heard of it before!

We all met for lunch at Pauly Saal (a trendy restaurant) in Berlin last July, thanks to “meeting” them regularly through several weekly Twitterchats focused on travel — and Jens and I bonded for certain after trading the lyrics to the Rocky Horror Picture Show.

Who knew?

 

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Now, thanks to Insta, I’m reviving my photography skills; I began my journalism career as a teenager selling three cover photos to a Toronto magazine, then sold to Time, The New York Times, Washington Post and more.

I love how my Smartphone has made me hyper-aware of my surroundings once more. The glossy perfection and waayyyyyyy too many selfies of Instagram don’t appeal to me, but I’m loving the global reach it offers.

I also spend a lot of time on Facebook participating in online-only women’s writing groups, where we find friendship, freelance work, staff jobs, mentoring and moral support. At worst, it can get ugly and weird, but at best it’s my daily water cooler, as someone who works alone at home in the boring suburbs of New York.

(It costs me $25+ in train and subway fare into New York City to meet people face to face, so social media offers us all an easy and affordable option.)

But I also plan play dates — this week an Oscar-viewing night with a neighbor, lunch here with an editor, a Canadian consulate event at the Tenement Museum in New York City, and meeting friends for dinner in Harlem at Red Rooster.

My weekends are also filled with in-person social activities from now through mid-April, so I don’t feel isolated and lonely, which social media can create online interaction is all you do.

Facebook was also useful recently in a highly unusual way — with a local woman reporting to our town in real time that a woman had been shot in an apartment complex nearby, that the shooter was on the loose (!) and that’s why we heard police helicopters overheard for hours.

(She died and he was captured in New York City at the bus station.)

The hashtag for our town’s zip code, whose Facebook page has thousands of members, was the single best place to find out what was happening.

 

Are you using and enjoying social media?

 

Which ones do you enjoy most and why?

The best day of the year

By Caitlin Kelly

It happened this week, as it has now for several years.

It’s when one specific check, (or cheque, as Canadians and Britons spell it), arrives. It’s a payment from a cultural agency of the Canadian government, an annual payment from the Public Lending Rights program.

There are 30 of these programs worldwide, but only one in the Americas, so I’m fortunate to be Canadian and to be a participant — it’s a royalty system that pays people who have created books now held in public libraries.

I had never heard of it when I lived in Canada and only learned of it thanks to meeting a man whose wife was enrolled in it.

If you have published a book, or several, that meets its requirements, and have registered it, and it is held by public libraries, you’re eligible.

It is open not only to writers, but to photographers, illustrators, editors and — crucial to a nation that is officially bilingual (English, French) — translators.

I’ve published two books — both about life in the United States, albeit through the eyes of a Canadian — and both are still receiving this payment.

 

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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

 

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My second book, published in 2011

 

Last year I got $452, and this year $507.50 — love that 50 cents!

To determine who gets how much, the program samples seven library systems in French and English — that might be a major city like Toronto (my hometown, whose libraries bought multiple copies of Malled), or a collection of smaller ones across a province or territory.

If your book has been registered for 0 to five years, the payment rate is $50.75 for each hit (i.e. it is still in those library systems), dropping each year to $25.38 for those held 16 to 25 years.

It may seem a pittance, but it means the world to me because it means my work still has readers.

The lowest amount one can receive is $50 and the most — even if you have 20 books in circulation — is $3,552.50

The PLR has 17,000 registered and a budget of about $10 million; every year there are 800 new registrants and more than 5,000 titles added.

The check arrived with a charming letter from its chairman, his closing sentence: “I leave you with my best wishes for another productive year of creation.”

 

I so appreciate that my government supports the arts in this way!

Presenting the Olympics — the backstory

By Caitlin Kelly

 

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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?

 

A week in my life as a freelance writer

By Caitlin Kelly

 

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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.

 

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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!

 

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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.

 

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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!

 

 

Journalism: a statement of principle

By Caitlin Kelly

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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.

 

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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

 

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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.

 

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.