Archive for the ‘Media’ Category

Why journalism still matters — go see “Spotlight”

In business, Crime, History, journalism, Media, movies, religion, U.S. on November 20, 2015 at 1:03 pm

By Caitlin Kelly


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

Their clothes are drab, cheap, poorly- fitting.

All they do is sit at desks or talk on the phone or knock on doors.

Their work takes months.

Why on earth would this make a compelling film?

I admit it, I’m biased, having worked as a journalist for more than 20 years. I’ve been doing it since my undergraduate years at university and still enjoy it, even though 24,000 of us lost our jobs in 2008 and thousands more are losing their jobs every year now.

The film is about the Boston Globe’s investigative team, called Spotlight, and their controversial and much-challenged decision to look into allegations of child abuse within the Catholic church there.


The cast is terrific — fellow Canadian Rachel McAdams, John Slattery (of Mad Men), Mark Ruffalo, Stanley Tucci.

The newsroom looks like every newsroom everywhere, overlit, ugly, standard-issue desks and chairs, glass-walled executive offices. Its power structure,  (interesting how it parallels the church they investigate, and how every senior editor is male), also deeply familiar.

The mix of political cynicism and compassion for the people they’re covering — and the remorse they feel as they realize they knew about the story years before and ignored it — also resonate.

But what left me in tears was how truthful is the portrayal of my work, certainly as part of a daily newspaper staff; I worked at the Globe & Mail, the Montreal Gazette and the New York Daily News.

It takes patience.

It takes persistence.

It takes a ton of tedious-but-essential detail work like reading old directories and chasing down court documents.

It takes a belief that what you’re doing all day, for months, actually might make a substantive difference — at best — in the lives of your readers.

Working as a news or investigative reporter is a weird mix of aggressive digging, pressure to stop digging, (by angry sources, power brokers, bosses worried you won’t bring home the goods), and the growing conviction that you’re on a huge story you have to get, no matter the cost.

Your co-workers may question and resent you — since they’re expected to crank out copy every day, possibly multiple times a day — and your team has yet to show anything in print, even after months of work.

The people you’re investigating will do anything to shut you down, from polite threats over a cocktail to appeals to your civic pride. (It can get much more bare-knuckled than that.)

The film shows reporters doing what no film ever shows — reporting.

That means knocking on door after door, some of them slammed in your face, some of them suddenly opened and a confession spilling out so fast you write it down as you walk away, as McAdams does in one scene.

It can mean sitting with, and witnessing, incredible pain when someone tells you they have been molested or raped, but not hugging them or saying anything — instead, as McAdams does — saying quietly, “We need specific language.”


Me, hard at work on assignment in Bilwi, Nicaragua.

To anyone but a reporter, she sounds shockingly callous and cold. Why isn’t she comforting the man telling her his secrets?

Because that’s not our job. (Even if, and it often is, our social impulse.)

I’ve been in that place, as someone who had been raped told me her story. It’s a delicate moment you’re neither trained or prepared for, like holding a water balloon — one false move and it shatters. You have to be calm, quiet, empathetic and just listen. Your job is to witness, not to emote or react.

I loved that the female reporter is portrayed as dogged and relentless as her two male peers. We are!

I love that her nails are bare, that she wears no jewelery but a plain wedding band and apparently little make-up. In the world of news journalism, that shit really doesn’t matter. It’s one reason I love it and felt comfortable within it.

It was powerful to see the conflict between the reporter’s private feelings — about faith, about the Church, about their own history — and the work they were doing. I know reporters personally who covered this story and what it did to them emotionally. This rang true.

I loved seeing a brief glimpse of a friend’s book, Lead Us Not Into Temptation, and his name in the final credits; Jason Berry, a New Orleans journalist, was one of the first to write about this issue. I met Jason in Paris many years ago when we were both chosen to participate in a year-long European journalism fellowship.

When I left the theater to use the bathroom, three women my age there had just seen it as well — and we got into a long, deep, impassioned and personal conversation about the film and why journalists want to do that kind of work. It was an amazing encounter for all of us, one of whom works with Catholic church abuse victims.

I told them about my two books and the kind of interviews I’ve done that were equally soul-searing, and my hope that sharing them with a larger audience would be useful somehow. It made me realize, sadly, how rarely I get to talk to non-journalists about my work and why I believe so deeply in the value of it, still. It moved me to hear from three others that it matters to them as well.

If you care at all about journalism and why, at best, people still want to do it for a living — and I know that many people simply hate journalists and don’t trust us — go see this film!


Are reporters vultures — or just doing their job?

In behavior, blogging, business, Crime, culture, journalism, Media, news, television on October 4, 2015 at 1:32 pm

By Caitlin Kelly

One of my first national magazine stories...I entered an animal testing lab. Grim and gruesome. But it was part of my job as a reporter

One of my first national magazine stories…I entered an animal testing lab. Grim and gruesome. But it was part of my job as a reporter

Here’s a recent story about what it feels like to be a reporter, a rare glimpse into the feelings we’re never allowed to share publicly:

Over the coming hours and days, millions of people are going to watch millions of hours and read millions of words on the Umpqua Community College shooting. They will learn what it looked like, from witnesses who escaped with their lives; they will learn about the victims—their lives, their hobbies, their dreams—from their friends and families; they will learn about the killer’s (or killers’) backgrounds and motives. Many of the same people who will eagerly consume this heartbreaking and enlightening information are the ones now criticizing the reporters gathering it for them. Where the fuck does the public think this news comes from?

The public may say it doesn’t want the horrible details; ratings, circulation, and traffic say the public is lying. The public may claim it values accuracy over speed, and that it is monstrous to contact witnesses this soon after a tragedy; the broad and voracious consumption of breaking reports, and the tendency to spread them as far and wide as possible, argue otherwise. The public will definitely immediately turn on CNN when news is breaking, then mock CNN for having clueless reporters uselessly speculate because there’s nothing to report yet, then turn to another channel to see if they’ve got something to report.

No outlet could conceivably think of sitting out the race to report something like this.

I’m grateful I’m no longer a hard news reporter, let alone at a tabloid  — my last staff job, and literally my last staff position in journalism — ended in 2006. I was a reporter at the New York Daily News, then the U.S.’s 6th-largest daily newspaper.

It felt like an out-take from some 1930s film: tough-talking dames, foul-mouthed editors in suspenders, eager young interns, aggressive photographers. There was a guy in a corner of the enormous open newsroom called Gypsy.

I had only worked for broadsheets — The Globe and Mail, Montreal Gazette and, freelance, for The New York Times. Even at their most aggressive, we didn’t behave like tab reporters who would, and did, do anything to beat their competition and win the wood, the paper’s entire front page.

The news we all read, see and listen to doesn’t erupt spontaneously — it’s the result of decisions made by top editors, often middle-aged white men — about what they deem most important and interesting.

The New York Times newsroom

The New York Times newsroom

At the News, I was sent on a stake-out, in Manhattan’s summer heat and humidity, to stand outside a midtown hotel and await the arrival of two Quebecoise visitors, one of whom had been attacked and injured, not critically. I was sent because I speak French, not a common skill in that newsroom. My job was to — in News parlance — get the quote, some pithy summation of their fear and shock.

That no other reporter would have.

It was tiring, boring and bizarre to stand there for hours, to clog the sidewalk beside competing reporters from the Times, Post and others. With an intern, our photographer busy chatting to her pals, I tried to sneak into the hotel several times, eventually caught by an irate security guard.

I’ve never felt so stupid or ashamed of my role.

When there’s a shooting — which in the U.S. is sadly common — reporters descend on the scene, desperate to speak to anyone involved and to be aggressive about it.

Because if they’re not, and a competitor for eyeballs, clicks, pageviews and revenue beats them to a source, they’re in deep shit.

Hence the comparison made to vultures — journalists swooping in the second they see blood, death, destruction, tragedy, to dig through its entrails and feast.

Some reporters are fine with this behavior. I’m not.

Partly because there are complex issues that rarely get discussed outside of newsrooms or journalism conferences: what to cover, when to cover and when to stop, what to ask.

Because the assumption is: everything, as fast as possible.

One reason reporters can look like vultures is that those of us working differently, not on breaking news — writing longer features or profiles, covering business or sports or government — remain invisible to the public.

We spend our days ferreting out information we hope will be useful, not merely that hour’s latest tragedy, which can appear titillating or voyeuristic.

So, the public often think “the media” are only those they suddenly come into contact with when we’re at our most aggressive and, yes, our ugliest.

When I teach journalism, I also remind my students — especially women — that we’re paid to break social rules: to run across a room, to interrupt, to ask tough, probing questions, repeatedly when necessary, to challenge authority, whether political, religious or the wealthy.

At our best, to speak truth to power.

That, too, sometimes offends the more decorous or docile.

Reporters don’t contact victims and bystanders because they get off on it; they do it because they’re a small part of a long-established news ecosystem that begins and ends with an audience that understandably wants to know what the facts are, which is to say that it wants to hear what victims and bystanders saw.

I got out of tabloid reporting because I couldn’t take feeling awful anymore. One former co-worker said she got out of it the moment she realized she had been doing it long enough to stop feeling awful.

But…I draw a line that others are failing to do now.

I do not want sentimentality or hand-wringing.

I do not want to hear one more slick television reporter — NBC Nightly News, I’m looking at you — yammer on inanely about a community’s gathering together to “heal.”

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

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

I’m so done with cliches, false emotion and bullshit.

Here’s what I want from fellow journalists:

— Insight, analysis, hard data, fact patterns, trends.

Here’s what I don’t want:

— Drama, emotion, speculation, guessing, uninformed opinion.

What do you think of reporters’ behavior?

Do you watch or listen to the news?

What do you find missing — or most valuable?

My writing workshops Oct. 17 and 18, near New York City

In behavior, blogging, books, business, culture, education, journalism, Media, work on September 25, 2015 at 12:10 pm

By Caitlin Kelly

The New York Times newsroom

The New York Times newsroom

Some of you are already writing non-fiction, memoir, journalism, essays.

Some of you would like to!

Some of you would like to find newer, larger, better-paying outlets for your work.

Some of you would like to publish for the first time.

Maybe you’d like to write a non-fiction book, but where to start?

I can help.

My first book, published in 2004

My first book, published in 2004

As the author of two well-reviewed works of nationally reported non-fiction, Blown Away: American Women and Guns and Malled: My Unintentional Career in Retail, winner of a Canadian National Magazine award and five fellowships, I bring decades of experience as a writer for the most demanding editors.  I’ve been writing freelance for The New York Times since 1990 and for others like More, Glamour, Smithsonian and Readers Digest.

My website is here.

I’ve taught writing at Pace University, Pratt Institute, New York University, Concordia University and the Hudson Valley Writers Center — and have individually coached many writers, from New Zealand, Singapore and Australia to England and Germany.

My students’ work has been published in The New York Times, The Guardian, and others.

Here’s one of them, a young female cyclist traveling the world collecting stories of climate change.

malled cover LOW

On Saturday October 17, and Sunday October 18, I’m holding a one-day writing workshop, from 10 a.m. to 3 p.m. at my home in Tarrytown New York, a town named one of the U.S’s 10 prettiest.

It’s easily accessible from Grand Central Station, a 38 minute train ride north of Manhattan on Metro-North Railroad, (round trip ticket, $20.50), plus a five-minute $5 cab ride to my home — we have an elevator so there’s no issue with mobility or access.

Coming by car? Tarrytown is right at the Tappan Zee bridge, easy to reach from New Jersey, Connecticut and upstate.

Each workshop is practical, tips-filled, down-to-earth and allows plenty of time for your individual questions. The price includes lunch and non-alcoholic beverages.

$200.00; payable in advance via PayPal only.

Space is limited to only nine students. Sign up soon!


Freelance Boot Camp — October 16

What you’ll learn:

  • How to come up with salable, timely story ideas
  • How to decide the best outlets for your ideas: radio, digital, print, magazines (trade or consumer), newspapers, foreign press
  • How to pitch effectively
  • Setting fees and negotiating
  • When to accept a lower fee — or work without payment

Writing and Selling a Work of Non-Fiction — October 17

What you’ll learn:

  • Where to find ideas for a salable book
  • The question of timing
  • What’s a platform? Why you need one and how to develop it
  • The power of voice
  • Why a book proposal is essential and what it takes
  • Finding an agent
  • Writing, revising, promoting a published book

Questions or concerns? Email me soon at learntowritebetter@gmailcom.

You’ll find testimonials about my teaching here, as well as details on my individual coaching, (via phone or Skype), and webinars, (by phone or Skype), offered one-on-one at your convenience.

Want to register now?


Email me at and I’ll send you an invoice and share travel details.

Time to up your writing or blogging game?

In blogging, books, business, education, journalism, Media, work on July 29, 2015 at 12:53 am

By Caitlin Kelly

One of my first national magazine stories

One of my first national magazine stories

As some of you already know, I make my living as a full-time freelance writer, with clients ranging from non-profits like WaterAid to journalism for The New York Times and many others. I’ve been writing for national magazines and newspapers since my days at the University of Toronto, was a staff reporter for three major daily newspapers, a magazine editor and now work from home for a wide range of clients.

Here’s my website, with many published articles, including the one which won me a National Magazine Award.

Whether it’s a personal essay, a reported story, an investigative piece — or a blog post — I know how to do it and can help you do it better!

The basics of great writing never change: clear thinking produces clear writing. But sometimes you need a smart and helpful editor to talk it through. That’s me.

I love teaching and coaching and take great pride and pleasure in my students’ progress.

This year I taught freshman writing at Pratt Institute, a private college in Brooklyn, and also taught blogging — where my students’ blogs helped them win prestigious internships and polish their writing and social media skills.

I also teach writing at the New York School of Interior Design in Manhattan, and recently helped six designers better understand the world of publishing and social media in my class “How to Catch an Editor’s Eye”. My classes there start again September 23.

Time to make some money with your writing?

Time to make some money with your writing?

As someone who’s been writing for demanding editors in Canada, Britain and the U.S. for decades — also author of two well-reviewed non-fiction books — I’m able to help newer or less-experienced writers refine their pitches, conceptualize ideas for a book proposal, think through your next steps in building a writing career.

My second book, published in 2011

My second book, published in 2011

As I did for this piece, I can also read a first draft of your story, offering many helpful, constructive editing comments, (tone, reporting, structure, etc.)

I met its young author at a conference in New York a few years ago and, since we’re both from Toronto, stayed in sporadic touch. She sent me a draft of her challenging and complex piece — about a murder by a former high school classmate of hers — and I helped her with it.

It’s since gotten a lot of attention, including from the Washington Post, Jezebel and others.

My first book, published in 2004

My first book, published in 2004

I often coach fellow writers — in person, by phone or Skype — as I recently did for one English journalist when I was on holiday in Dublin; I charge $225/hour (U.S.), payable in advance by Paypal to focus on anything you’d like advice on: blogging, journalism, online writing, non-fiction writing, pitching…

My story in July 2014 Cosmopolitan (U.S. edition)

My story in July 2014 Cosmopolitan (U.S. edition)

My webinars, which I can do by Skype or phone, are $150 for 90 minutes and I schedule them according to your convenience one-on-one — you’ll find testimonials from satisfied students from New Zealand, Australia, Germany, the U.S., Canada and England.

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

On assignment in Nicaragua for WaterAid


Email me at and let’s get started!

What’s Twitter for exactly?

In behavior, business, culture, design, entertainment, Media, Technology on July 20, 2015 at 2:02 am

By Caitlin Kelly

Who's got time for Twitter? Do you?

Who’s got time for Twitter? Do you?

Interesting recent piece by New York Times tech writer Nick Bilton:

Wander the halls of Twitter’s San Francisco headquarters and ask random employees in a black T-shirt with a little blue bird and they will give you a different answer, too. I’ve heard people tell me it’s a place for real-time communication, a second screen for television, a live-events vertical, a place for brands to connect with people and a media communications platform.

The conflicting vision about Twitter may be the company’s biggest flaw and may explain why Twitter has failed to grow beyond its 300 million users (compared with Facebook’s 1.4 billion).

It may also explain why the social media platform hasn’t changed much in nearly a decade.

It’s utterly insane that you still need to put a period before a person’s Twitter handle, such as “.@twitter,” if you want everyone to see it. Could you imagine Facebook doing that? Twitter still uses “favorite” instead of the more universal “like.” And Twitter still expects people to use Boolean search commands.

As a user experience, the product is still a drip-drip-drip stream of seemingly random tweets. It feels like a deranged video game, where players are blindfolded and win only if they accidentally come across a good tweet among a mudslide of drivel.
I started using Twitter — extremely reluctantly — about a year ago. I usually tweet five to 15 times a day when I have time, and I probably re-tweet 55 percent of the time, although less than I once did.
I have a love-hate relationship with it. I hate feeling like I’m spitting into the wind; as Sree Sreenivasan — who tweets as @sree — and who is the digital officer for the Metropolitan Museum in New York told my blogging students this year: Expect to be ignored!
The CBC's logo -- one of the many news sources I follow on Twitter

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

Now that’s encouraging…
What I have come to enjoy most about Twitter are the weekly Twitterchats that create community, allow me to be as playful and/or as serious as I wish — knowing that each tweet is public and permanent — and connect me quickly and easily with some fun and interesting peers.
Every Wednesday night at 8:00 pm ET is #wjchat, which focuses each week on a topic of interest to journalists. Those who show up range from 30-year award-winning veterans like me to radio and digital journos worldwide to young, naive students who mostly lurk.
I also really enjoy #TRLT and #CultureTrav which are focused on travel and which draw a terrific crowd of serious globetrotters. One of them and I ended up tweeting a Rocky Horror Picture Show song at one another the other day — he’s an archeologist in Berlin who studies the Bronze Age.
Of course we’d meet on Twitter! (Where or how else?)
My desk -- Twitter allows me to connect globally, quickly and easily

My desk — Twitter allows me to connect globally, quickly and easily

I only follow 900 people. most of whom are, in fact, news organizations from Toronto, New York City, France, Spain, Canada, England.

The first thing I check when I wake up now is Twitter — because that’s where I hear the news first.
Do you use Twitter?
What value do you find from doing so?

It all began with…

In aging, behavior, blogging, books, business, journalism, life, Media, work on May 27, 2015 at 12:01 pm

By Caitlin Kelly

Some of you want to become journalists or non-fiction authors.

Some of you have just graduated from college or university, wondering when your career will begin.

It will.

I recently found a piece of my early career that I’m so glad I still have, as so many of my other clips have been thrown away by accident or deliberately as I’ve moved around.

Today, with everything available on-line, it’s hard to recall a time when print was it and paper clips — (pun intended!) — were crucial to getting more work, carried around physically in a large, heavy portfolio case.

Here it is.

A story about testing cosmetics and other products on animals. Very tough stuff!

A story about testing cosmetics and other products on animals. Very tough stuff!

The reason this clip matters so much to me?

I was three years out of university, with no journalism training, but ferociously ambitious and already writing for national magazines before I graduated.

Without editors willing to take a chance on a writer in her early 20s, I’d never have gotten started, or so young. That trust meant everything!

I was lucky on a few counts:

I already lived in Toronto, Canada’s media capital; there were then many such magazines, several of them well-respected weekly supplements to newspapers, and they paid well; editors were willing to give me assignments, and more assignments.

And I had the cojones to walk into those glossy offices and make my pitches, sometimes even overcoming their doubts.

I wrote about the (then!) new fashion of wearing running shoes as casual wear, and the warring German brothers Adi Dassler (Adidas) and his brother, Rudolf, who founded Pumas. I also learned to pronounce the name of their town, and never forgot it — Herzogenaurach.

I got to watch a lady parachutist, hoping like hell not to fall out of the open aircraft door myself.

I got sent to Flint, Michigan to watch teen girls play a form of hockey called ringette.

More than anything, I was paid to learn my craft from some of the best, people old enough to have been my parents or professors.

The testing story came to me via a local activist, a woman I still run into when I go back to Toronto and visit the flea market, where she sells terrific jewelry. She was then a passionate advocate for animal rights and told me about the testing, some of which I saw done on cats in a downtown hospital.

It was pretty soul-searing.

But it also set the tone for much of the work I would later tackle as a journalist, whether visiting a cancer hospice in Quebec or writing a book, decades later, about women and guns.

I wanted serious intellectual and emotional challenge from my work and I still do.

This story appeared in March 1982 — the year my career took off after I won, in June 1982, an eight-month fellowship in Paris. I would spend Sept. 1982 to June 1983 in a group of 28 journalists from 19 nations, including Togo, Japan, Brazil, Ireland, New Zealand, Italy and, of course, the U.S. and Canada, with eight of us from North America.

The year was astounding. We traveled as a group to Germany and Italy. We also took off on solo ten-day reporting trips. I went to Copenhagen to write about the Royal Danish Ballet; to Comiso, Sicily to write about Cruise missiles, (speaking not a word of Italian!); to London and Amsterdam to write about squatters and an eight-day trip from Perpignan to Istanbul with a French truck-driver who spoke not a word of English.

I’m still friends with several of these fellow journalists, looking forward soon to seeing my Irish friend and meeting her two daughters, one of whom is now also a serious and ambitious journalist.

When I came back to Toronto, with the glittering dust of a recent fellowship gilding my resume, I got my first staff job at The Globe and Mail, Canada’s national newspaper. I had never written to a daily deadline in my life.

I stayed there 2.5 years then went to the Montreal Gazette, to work in French and enjoy Montreal. There I met my first husband, an American medical student finishing up at McGill, and followed him to New Hampshire, then to New York, where I’ve stayed ever since.

I hope to retire within the next few years and for now would like to focus all my energy, ideally, on writing non-fiction books, long-form stories and teaching. I love telling stories but also want to travel longer and further away than a deadline-driven life allows.

Journalism is an industry in a state of upheaval — usually politely termed disruption — and I’m grateful beyond words, (ironic for a writer!), that I was able to find staff work at three major dailies (my last staff job was at the NY Daily News, then the sixth-largest in the U.S.) along the way.

If there’s a more fun way to see the world and learn about it and tell others about it — and talk to everyone from Admirals and Prime Ministers to convicted felons and Olympic athletes — I’ve yet to discover it.

This long-defunct national Canadian magazine nurtured some of the nation's best writers, thanks to brave editor, the late Jane Gale Hughes

This long-defunct national Canadian magazine nurtured some of the nation’s best writers, thanks to brave editor, the late Jane Gale Hughes

The writer’s life — MIA sources, LOIs, the quest for ideas

In behavior, business, culture, journalism, Media, news, US, work on April 7, 2015 at 12:11 am

By Caitlin Kelly

The New York Times newsroom

The New York Times newsroom

As some of you know, I make my living as a full-time freelance writer, with work published many times in The New York Times, in Marie Claire and Cosmopolitan, and on-line for Quartz,, Investopedia and many others.

Samples of my work are here, if you’re interested. I’m always looking for new clients!

The first quarter of 2015 has been seriously weird.

While in England in early January, I reported two fun stories for Our Minutes, a website devoted to watches. I also went out to High Wycombe, a suburban town 45 minutes from London, to report on a well-established social service organization, one that their major funder considered extremely innovative. I spent a full day there and interviewed six people, plenty of data for an 1,800 word story.

This was to have been my first piece for a major international magazine. A big deal. A chance to impress a new client.

The editor, as is typical, had a few questions after reading my story, which I sent along to my sources. They failed to answer two of them — so I persisted.


Multiple emails and phone calls went un-returned. This was a bizarre first for me in 30 years of journalism.

I finally emailed their funder, reluctant to embarrass the group, but stymied.

They had shut down.


That would have been difficult and unlikely enough, had a similar thing not happened a month earlier with a different story, a long (3,500 word) feature for a major American women’s magazine. I’d spent weeks on it, eight hours alone with the profile’s subject, a woman with a long and impressive track record in her field. I’d spent more hours interviewing a dozen of her family, friends and colleagues.

The editor liked my first draft and we were set to start on revisions when I saw a story about the woman in The New York Times — being investigated by the mayor for an ethical breach.

Boom! That story?

Dead — in magazine parlance, literally, killed.

I was, as is only fair, paid in full for my work; I can’t control the ethics or behaviors of the people I cover. I choose people and groups with a proven track record. I’m neither naive nor gullible.

But this? Two stories exploding in two months, both before (thank heaven!) publication?

Now I wonder how much tougher I’ll need to be with every single person, company and organization I think is worth covering.

I interviewed 104 people for this book -- all original interviews. Yes, they're real people!

I interviewed 104 people for this book — all original interviews. Yes, they’re real people!

For someone who — like Scheherezade — stays alive only by telling story after story — this is a daunting prospect.

I’m not sure what’s happening these days, but wrangling sources — i.e. finding real people to talk to me and be quoted and/or photographed for a story — is getting tougher. Even those who agree tend to disappear on deadline. Failure is not an option! Without sources, I have nothing to write, sell and get paid for.

People who fantasize about freelance writing full-time picture a life of ease — up at the crack of noon, Auntie Mame-style, noodle about, make some calls, write something the editor loves, prints and promptly pays for.



I enjoy what I do, but it is, always, a hustle: for new clients, for more work from existing clients, finding interesting stories to tell, finding sources willing to speak on the record.

The Times, for years an anchor client of mine, recently severely slashed its freelance budgets, cutting loose several people with columns that had run there for years.

So I’ve been sending out LOIs — letters of introduction — letting editors who don’t know me or my work know that I’d love to work for them.

The problem?

Pay rates can be laughably low for even the most august and putatively well-off, so when they write back, (if they do), you discover, for example, that Harvard’s alumni magazine offers — wait for it! — 50 cents a word.

That’s $500 for 1,000 words, a story that would pay $2,500 from a Conde Nast publication, possibly even more.

Harvard’s current endowment? $36.4 billion — as of June 2014.

You have to laugh, really.

Then move on.

My story in July 2014 Cosmopolitan (U.S. edition)

My story in July 2014 Cosmopolitan (U.S. edition)

One of the interesting challenges of writing journalism is that of playing man-in-the-middle — finding and wrangling good sources while also pleasing your editor(s.) Writing skills matter, of course, but terrific people skills, the willingness and ability to negotiate diplomatically for everything from contract terms to whether someone is on or off the record, are also paramount.

When these two stories headed for the delete pile, I kept my editors in the loop every step of the way to let them know this might happen.

Personally, I was deeply embarrassed, worried, stupefied by my hard work simply going to waste through no fault of my own. But I couldn’t just focus only on my many feelings — these editors have magazines to fill, deadlines to meet and demanding bosses of their own to please.

When you work alone at home, year after year, often never even meeting your clients face to face, it’s too easy to forget that you’re part of a team, only one link in the editorial supply chain.

Writing journalism means remembering that you’re one domino in a long line — and if one falls, others will as well.

If you’ve been following the Rolling Stone debacle (?)…

It all begins with trust:

— trust that your sources are being truthful

— that they (if you’re interviewing by email) are in fact the people you think they are

— that you, the writer, have done your due diligence and aren’t handing over a pack of lies to your unwitting editor.

It’s a big responsibility and one I never take lightly. At lunch a few years ago with a fellow veteran, we discussed the very few times we had made an error in our work — and how physically ill it made us feel. If you’re not a perfectionist, this isn’t the job for you.

Here’s a recent popular post I wrote about this life.

Millennials want free news — so who’s going to pay for it?

In business, culture, journalism, Media, Technology, television, work on March 22, 2015 at 11:42 am

By Caitlin Kelly

The late David Carr, NYT media columnist, dead at 58

The late David Carr, NYT media columnist, dead at 58

From the Nieman Lab:

In addition to the broader survey data, researchers did deeper interviews with 23 millennials in three different locations around the country. Those interviews revealed a reluctance among some interviewees to pay for news online.

“I don’t think you should pay for news,” Eric, a 22-year-old Chicagoan, said. “That’s something everybody should be informed in. Like, you’re going to charge me for information that’s going on around the world?” And then there’s 19-year-old Sam from San Francisco: “I really wouldn’t pay for any type of news because as a citizen it’s my right to know the news.”

A sample of 23 is small and not, per se, worth commenting on, but the larger report is well worth a read if you’re at all interested in the current production and consumption of news; as a career journalist, I am!

It’s no secret that journalism is in deep trouble a period of disruption as digital media have claimed readers and advertising dollars from print, whether newspapers or magazines.

In the year 2008, 24,000 journalists lost their jobs, (I lost mine in 2006), and many of them left the industry for good, fleeing to new careers if they could find one.

The New York Times newsroom

The New York Times newsroom

In nine days, my husband leaves his workplace of 30 years, The New York Times. He has loved it and is leaving by choice, having accepted a buyout package that will never again be as generous, and one we need to secure our retirement.

He’s had an amazing run — including photographing two Olympics, (Atlanta and Calgary), three Presidents, multiple Superbowls and the end of the Bosnian war before working another 15 years as a picture editor inside the newsroom.

While he is retiring from the Times, he’s now seeking a new full-time position as it’s another decade before full-time retirement is an affordable option for us.

As two journos who’ve been doing this work since we were undergrads at college, (he in New Mexico, I in Toronto), we know what it still takes to produce quality journalism:



Software developers and designers

Time (to find and develop deeply reported stories)

A skilled team of tough editors — copy editors, section editors, masthead editors, photo editors


Graphic designers and page designers



Paying subscribers and advertisers

Several major newspapers, as the Chicago Sun-Times did in 2013, have actually fired their entire photo staff and either relied on readers to submit their images or asked their writers to snap pix with their cellphones and/or shoot video while out reporting.

Madness. (Cheap, affordable, looks great to the bean-counters.)

The Paris Unity March, Jan. 11, 2015, which I attended and reported on here at Broadside

The Paris Unity March, Jan. 11, 2015, which I attended and reported on here at Broadside

One of the sad truths about technology is that it offers the misleading illusion of ease — i.e. ready access = skill.


Thousands of people now style themselves as writers and photographers simply because they can hit “publish” on their home keyboard or snap some cellphone pix and upload them to Instagram.

It’s a fallacy, and one that journalism doesn’t help by keeping its production line, and the costs of hiring and retaining quality, essentially invisible to its consumers.

Do you trust the media? Should you?

Do you trust the media? Should you?

I think most of us realize that the steak we eat or the car we drive or the table we sit at are all products of a long production line of design, growth, production, manufacturing and distribution. We know they are businesses whose role is to earn profit.

Not so much for the naive/ignorant who think “news” is something that magically just appears on their Twitter feed or Facebook pages.

But the move is toward mobile consumption of news, as this 2013 Poynter Institute report explained:

This is why news organizations should shift to a mobile-first approach immediately. This doesn’t mean we ignore the desktop, but prioritize mobile over it — make mobile the default everything. When brainstorming a new product, start with a phone or tablet design and work backwards to the desktop. Set performance goals based on mobile performance over desktop. Conduct research that emphasizes mobile over desktop behavior. Put mobile numbers at the top of analytics reports. Compare competitive performance on mobile numbers first, desktop second. We need to immerse ourselves in devices and become a student of the industry…

Above all, we need to invest and experiment like never before. Whatever you’re spending now, triple it.

“When the Web was new, many of us went online with creativity and energy,” says Regina McCombs, who teaches mobile at Poynter. “Now, faced with even bigger potential and pitfalls for developing — or losing — our audience, most of us are getting by with as little investment as we can. That’s scary.”

Voters, readers, viewers, listeners, the curious and engaged — in order to learn what’s happening in the world, whether in our town or 12 times zones distant — still need smart, tough, skilled, disengaged, (i.e.  as objective as possible), trained and ethical reporters with boots on the ground.

Noooooo. Don't take my job away!!!!

Noooooo. Don’t take my job away!!!!

While the Associated Press is now using robots to write sports and business stories, many of us still want our news, whether consuming or producing it, to come from real people with real editors who will question their facts and assumptions hard before publication or broadcast.

In an era of racing to clickbait, it’s even more essential — (she harrumphed)–  to have some clear idea where the “news” is coming from and through what lenses and filters.

Here are six ways that digital journalism differs from print, from Contently; one of them, written with chilling casualness, by a young digital journalist:

The sourcing requirements for print outlets can be so stringent that I often joke a print writer must quote a professional astronomer before claiming that the sun will rise in the morning. Yet online, authors are commonly allowed—and even expected—to exert their own authority. And even when they cannot claim to be experts, many bloggers use their inexperience as a way to write from the perspective of a novice.

Again, this comes down to speed. Online writing has such different sourcing standards than print because it’s much easier to hyperlink to source material instead of explicitly attributing and fact-checking information.

The bold face above is mine — this is exactly my point.

I have zero interest in the “perspective of a novice”, for fucks’ sake.

On Isis? On the economy? On climate change?

And fact-checking? Yes, I want that, too. (Many of my magazine pieces are still subject to independent fact-checking.)

“Free” or cheap news doesn’t mean, or guarantee, excellent.





The best medium? Radio!

In behavior, culture, entertainment, journalism, life, Media, music, news on March 17, 2015 at 12:30 pm

By Caitlin Kelly


Do any of you listen to the radio?

It’s my favorite medium, by far.

On a recent visit to Paris, (my husband having insisted on us taking a taxi in from the airport), we had a good hour to listen to the cabby’s choice — and discovered our new favorite station, TSF Jazz. It’s fantastic, and a much better mix of music than my New Jersey jazz station, WBGO, which tends to include far too much talk.

We listen to it at home in New York now, streaming it on-line and I had the most unlikely pleasure of recognizing a friend’s voice on TSF singing Bei Mir Bist Du Schoen, a new release by the Hot Sardines, a New York based eight-piece band that specializes in 1920s and 1930s music.

(Here’s their current tour schedule, still in the U.S.; they hit England for six shows in May, then Berlin, then Calgary. Go!)

Few things make me as happy as listening to the radio, maybe a holdover from my teen years growing up in Toronto, (a good town for radio), and the glories of the Canadian Broadcasting Corporation.

The CBC's logo

The CBC’s logo

When I moved to the U.S. in 1989, I started listening to National Public Radio and its panoply of shows: All Things Considered, Studio 360, (my favorite, a weekly review of culture), the New York talk shows of Brian Lehrer, (I’ve been a guest a few times), and Leonard Lopate, The Moth, This American Life and Radiolab.

In New York, where we live, I listen faithfully to WKCR, the college station of Columbia University — and love starting a frigid winter’s Saturday morning listening to their reggae show, then Across 110th Street, which features R & B and funk. In the afternoon, I might switch to WNYC and the Jonathan Schwarz show, which is four hours of the American songbook.

A favorite is John Schaefer, and his WNYC show New Sounds, which introduces me every single time to bands and types of music I’ve never encountered.

I tune in most days to WFUV, which stands for Fordham University’s voice — Fordham is the Jesuit university in Manhattan, and FUV offers a mix of rock, folk and blues.

We also like WQXR, New York’s only classical music station, although they play far too many warhorses and waltzes for my taste.

When I can make time, I’ll tune in to BBC World News, which runs here in New York for a full hour, from 9:00 am ET; I often hear many stories there, and in more detail, than I read or hear from American media.

I love sitting still and just listening.

Here’s a long (3,000 words) but terrific piece from Canada’s National Post about the rise of podcasts — with lots of great recommendations to try.

Here’s a list of 40 great rock and roll songs about the radio, from a Toronto DJ.

Have you got a station or podcast recommendation to share?


A very bad week for journalism

In behavior, business, journalism, Media, television, work on February 14, 2015 at 1:30 pm

By Caitlin Kelly

David Carr, NYT media columnist, dead at 58

David Carr, NYT media columnist, dead at 58

As I blogged here a few years ago, journalism — at best — is a tribe:

The tribe, regardless of age, race, gender, religion or nationality, has time-honored rituals, the shared and inevitable scars we’ve acquired and sometimes discuss over a beer in Berlin or at a conference in Boston or at a presser in Brooklyn or Doha. The breathtaking self-assurance of some, that so often spills over into arrogance, hides the truth we all really know. Every one of us will err, whether it shows up in the paper’s corrections box or remains a private and unresolved matter of conscience. Within this industry, at almost any level of the game, there’s daily doubt and fear, confusion and pain — and, sometimes, great, shared joy when we’ve done it well.

No matter where you live or what you earn, if you yearn to tell as many truthful, fact-based stories to strangers as possible, you share a passion with other journalists that’s hard to explain to everyone else. People I call “civilians.”

The military is like that, I hear, bound by codes of honor and behavior, of hazing and terror, that only initiates truly understand and share.

Some journalists write about technology, hanging out with guys in hoodies. Others work the frontlines of wars and conflicts.

But, whether we’re a fresh grad or a grizzled 50-year-old, we all know it’s damn hard to get and keep a good job in our field — i.e. one that pays more than $60,000,  (many earn in the mid-40s), and where your bosses are still somewhat decent human beings whose judgment you respect.

If you, like me, have been the J-game for a few decades, you’ve read, heard or watched the work of hundreds of other journalists, sometimes with irritation, sometimes with envy and deep admiration for their access, skill and visibility. Many flame out. Some go into public relations or teaching.

A very fortunate few, like Brian Williams, a television anchor, pull in a cool $10 million a year. Most of will be lucky to ever make six figures in any year.

In the year 2008, 24,000 of us lost our jobs, so anyone who has one, still, is damn lucky and we all know it.

The past week has been a shitshow for our industry.

The death — of all things, while riding in the back of a New York City limousine — of legendary, 72-year-old CBS News correspondent Bob Simon. A man who had covered the world and survived many harrowing and dangerous assignments.

The death of female, Canadian baseball writer Alison Gordon, at 72, who, in her off hours, played (of course) in a band. She was the first woman to cover Major League baseball, beginning in 1979. I was offered a sports reporting job in 1985 and said no. I knew how incredibly rough, then, that ride would have been for a woman trying to cover what was still very much a man’s world. (Sent to cover a major league hockey training camp then, I watched every man there get a complete press kit. “Oh, we’re all out!” I was told.)

“She was relentless,” said Lloyd Moseby, who played for the Jays throughout the 1980s. “A lot of women that are in the profession right now should be very thankful for what Alison did and what she went through. She took a beating from the guys. She was a pioneer for sure.”


The sudden death Thursday night of New York Times media columnist and author David Carr, at 58. He had just finished moderating a panel discussion next door in the Times’ auditorium, went upstairs to the newsroom and collapsed there. He died that evening in the hospital, leaving a wife and three daughters. Carr, probably the least likely writer to join the staff of the Gray Lady — as a former coke addict — won tremendous respect from his peers, there and elsewhere, for his crazy hard work, sense of humor and no-bullshit worldview. Covering other journalists and their companies is a gig many of us would happily avoid; we like to be the observed, not the publicly-pulled-to-pieces. And where would he go if he ever needed another job?

One of his many bons mots, (which so many of us long to shout!): “I don’t do corporate portraiture.”

My husband works at the Times and knew David there; one day he shared an elevator with him. “How are you?” asked Jose. “Happy!” Carr shouted.

That, so un-Timesian raucous and, always, real, was Carr.

Hundreds of his colleagues gathered in the NYT newsroom for an hour to pay tribute; Editor Dean Bacquet on the stairs, publisher Arthur Sulzberger in shirtsleeves standing; photo Jose R.Lopez

Hundreds of his colleagues gathered in the NYT newsroom for an hour to pay tribute; Editor Dean Bacquet on the stairs, publisher Arthur Sulzberger in shirtsleeves standing

photo by Jose R.Lopez

The newsroom filled at 3pm Friday for his colleagues’  many tributes to, and speeches about him, heartfelt laughter and tears. For a tough-minded, elbows-out culture like the Times, the outpouring of love and respect was unprecedented.

Here’s a lovely piece about him from The Globe and Mail (my first newspaper employer.) I’ve worked for three big dailies; Carr, more than many, knew and really appreciated what a fantastic, fun gig a newspaper job can be. I loved it and miss it terribly.

The firing of Jared Keller, the news director of Mic, a popular website, after charges of plagiarism. He had previously worked for Bloomberg, Al Jazeera and the Atlantic — which is to say, for non-journos, he had already enjoyed a pretty nice career in an industry pretty much in chaos these days. Why blow it?

The six-month unpaid suspension of NBC News anchor Brian Williams, for his inability to clearly recollect memories others had to explain to him. I normally watched his show but was appalled when, in his nightly news broadcast, he mentioned his daughter, Alison Williams, a regular on the HBO series Girls, appearing in a show of Peter Pan — with no nod whatsoever to their family relationship. Seriously?!


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