realistic salary expectations

Editor and writer Kim Pittaway was kind enough to email me her thoughts on salary after a discussion she had with a young colleague. Since I can't say it any better myself, here's what she had to say in full:

There are some basic realities that many junior employees don't really understand.

Most large corporations have a cap on the percentage increase a manager can recommend annually for an employee. My recollection is that an increase of about three to five percent max annually is permitted for someone whose job title hasn't changed.

To confirm this, I've put in calls to various HR departments and will let you know what they say should they get back to me. Kim continues

In exceptional circumstances, a manager could make the argument for a bigger increase, but it would be tough, especially in a year when the ad market is soft or the magazine isn't meeting its budget goals. Even when there is a job title change, the salary jump generally isn't going to be huge – 10 percent would be considered a big jump.

So, the problem is that if you start at a low salary, you're going to have a heck of a time moving up salary-wise within the same magazine: start at $30,000 and even if you get the super-big five percent increase every year, you'd be making about $36,500 after five years.

So how do you move up the salary ladder? You have to move out to move up. Consider this example of two young colleagues with basically the same level of experience (yes, it's based on a true story!). Both start at a magazine at around $30K. One toils away at that magazine for six years. The other makes a jump at about the four year mark. The one who stuck it out loves her job – and makes about $40K. The one who made the jump is in a job she's less enthusiastic about – she finds it a bit boring –but is making $70K, which frankly makes up for the boredom factor since when she's bored she can spend time thinking about the condo she's saving for (something her $40K colleague can't afford). That example is one of the most dramatic I've seen (and it involved a jump from print to online) but even a more "normal" jump from one magazine to another can result in a salary increase of $5-10K or more.

All of which points out the need to negotiate to maximize your starting salary!! I can't tell you how many times I had prospective employees just say "okay" when offered a starting salary. That honeymoon period – when as an employer I've decided I love you and want to have you on my team – is the best chance you're going to get to maximize your salary. And most people (and the studies bear out that this is particularly true of women) leave money on the table, as they say in sales. If I offer you $35K, I can probably afford $36.5K and I might even give it to you – if you ask for it!

Some basic research can help you figure out what's reasonable to ask for. I did a piece for More Magazine about getting what you're worth, and Melanie Hazell of Hazell & Associates had this advice:

• Know what's realistic for the position and the company. Where do you find that out? For those of us in the magazine industry, check out the Masthead salary survey. Ask others who work in that company – do they typically pay more or less than the rest of the industry? You need to figure out what this position is worth to this company.

• Negotiate with your whole package in mind. For editorial types, that's usually base salary and vacation time, but in some cases (depending on seniority usually) also involves bonuses. It could also involve additional pay for articles written above and beyond your job duties.

• Get it in writing. The person who agreed to your salary might not be in that job forever. If the contract you sign doesn't capture all of the details of your agreement, write a letter outlining your understanding of what you've agreed to so you have a record of the discussion.

The other lesson in this: stay with the same magazine forever and you're likely trading security (of a sort) for income. I'm not saying you should never have a long-term relationship with a magazine, but if you do, you'll likely pay for it with a lower salary over the long-term. The other disadvantage of sticking with the same shop is that your experience won't be as broad – and when you do eventually go looking for a new job (as pretty well everyone does – by choice or by circumstance – eventually) your resume likely won't be as rounded as someone who has made more moves. (Which is why it's especially important, if you're in a long-term relationship with a magazine, to bolster your resume with industry volunteerism, professional development and anything else to expand your skills and experience.)

Update: The Masthead Salary survey is available to subscribers here.

wanted: facebook addicts

That penchant for Facebook you have? It might be a good thing to put on your résumé. A piece in U.S. News & World Report features a list of jobs where an in-depth knowledge of Facebook is at least a bonus, if not a necessity. "More and more employers are scouting for social networking skills and trying to fill positions that require daily Facebook diligence," writes Liz Wolgemuth. Included in the list are a few jobs you might find in the publishing sector, either as a position in and of itself or as a duty of a web editor: social media marketing manager, analyst – user operations, tech reporter/blogger, product managers and developers.

[Thanks to Lisa Hannam for the tip]

the problem with internships

Friday's post seems to have struck a note with some of you, drawing out some lengthy comments (here and here) on the lack of opportunities to develop skills, and on the amount of available salary information there is on the industry (as far as I know, we only have the Masthead Salary Survey and colleagues willing to dish about their own salaries to consult). There's one comment I'd like to pick up on, though. Says one anonymous poster

I've worked at several large monthly consumer mags and in general am shocked at the entitlement complexes, poor attention to detail and lack of enthusiasm amongst the interns I've worked with.

I'd like to suggest that perhaps our quality of interns would go up if we started paying them. I know, I know, tight budgets, can't afford to, yada, yada. Working out budgets isn't my job, but if we don't spend the money on developing good editors, we won't have any good applicants to hire, for both intern positions and entry-level editorial positions down the road. We owe it to the industry to ensure its future success by developing the editors we want to hire.

If more magazines started paying their interns either with a livable wage or with course credit as part of a school program, our pool of potential candidates would expand. We wouldn't be limited to interns who can afford to work unpaid for weeks, months. We would actually have our choice of the best applicants, of anyone who wants to be an editor. The publications that do offer a wage appear to be the most competitive, and I would venture to guess, get some of the best interns because they can pick and choose.

That sense of entitlement Anonymous mentioned? A large part of that comes from having to work for free.

Update: The Masthead Salary survey is available to subscribers here.

not enough good applicants, not enough jobs?

I recently had an editor-in-chief ask about the lack of qualified applicants for positions she's trying to fill, a complaint I've heard a few times over recent months. Her beef: most of those who have applied don't have the qualifications and the ones who do are asking for laughably large salaries. To job seekers she suggests, "Apply for positions for which you are adequately qualified, proof your letters and resumes at least twice, take the time to read several issues of the magazine and make cogent comment on it, understand the role that is offered and the wage levels that go with it, and spell the name of the interviewer correctly. Seems pretty straightforward to me." Yes, pretty common sense, I agree, and would-be-editors should follow it. But there seems to be a disconnect here.

I constantly hear about how impossible it is to find a job, about the lack of opportunities. So if editors can't find the right people and people can't find the jobs, are we not training our people well enough in school and entry level positions? Are we not providing them with enough growth opportunities to learn and develop their skills? Are we not communicating well enough what our expectations and requirements are? Why are both sides of the desk having such a hard time?

the importance of place, part II

Further to my post yesterday about how where you live can affect your career opportunities, are employers less inclined to consider out-of-town applicants?

Unfortunately, if you don't live in the same city as the company, I think you are at a disadvantage. It's only natural for employers to question a few things. What are the logistics of conducting the interview? Will it be done by phone or will you fly in? How committed are you to establishing yourself in a new city, especially since you haven't already made the move? How soon will you be able to start work? Will you decide it's not the place for you shortly after starting and then quit? Perhaps employers use location as an easy filtering system.

For higher-level positions, I don't think it's as much of an issue, but I'm interested to hear what you think. Have you had to consider out-of-towners for a job? What was your reaction?

the importance of place, part I

By the time I was finishing up my BFA several years ago, I had already made the decision to pursue a career in magazines. I had been living in Vancouver for six years and had established roots there, but I didn't even think twice about moving across the country to Toronto. In my mind, it's where I had to be to get to where I wanted. Of course, the fact that I love the city, it's where I grew up, I have family and friends here, and my now-husband was willing to come along made the move a whole lot easier.

For some, it's a harder decision to make. Should you move to gain access to better job opportunities? Obviously I can't tell you what to do; it's something you have to figure out on your own. But here are a few things to consider:

• What's most important to you? What gives you the most satisfaction? Is it your career that fulfills you? Your surroundings that make you happy? Being close to your family? This should be your primary determining factor.

• What are you willing to sacrifice for your career? Are you up to making a new network of friends in a city where you know no one?

• Does your prospective new residence actually present the opportunities you think it does? Thoroughly research the market. Visit. Check out job boards. Set up information interviews with prospective employers.

• Does your current locale really have a dearth of opportunities? There may be fewer jobs, but there's also likely to be fewer qualified candidates.

In addition, I'd recommend taking a look at Richard Florida's Who's Your City? The whole book is about deciding where to live, particularly in relation to your career. The accompanying website has a place finder quiz, which may help in making a decision.

proofread your work!

I can't believe I have to say this, but proofread your cover letters! Over the weekend I had two editors complain to me about the number of cover letters they've received with spelling and grammatical mistakes, and it's not the first time I've heard it. I have to say, I'm flabbergasted. For whatever job you're applying to, but especially for jobs like editing, you have to hand in an application free of mistakes. A big part of an editing job is ensuring an error-free publication; your cover letter and résumé are the first indication of whether you're capable of doing that. Having mistakes shows not only that you can't do that, but also that you don't pay attention to detail, you're sloppy and that you don't have an understanding of the job you are applying to. I thought proofreading was common sense. But, since apparently it's not, I'll say it again: proofread your work!

reader's question: how do I get back into magazines?

Q. I am a writer/editor/researcher who had a brief career in magazines awhile back, then veered off into a variety of other communications endeavours. I now want to get back to my roots and am seeking advice as how to break into the publishing market as a mid-careerist, rather than as a recent grad.

A. Many of the strategies to break back into the biz are the same as for those just starting out. Make contacts through networking, set up information meetings and put together good application packages. Some of the tips I mentioned in yesterday's post are useful, too.

Your one advantage over newbies is that you have a wealth of other experience from which to draw on. In your cover letter and résumé, be sure to highlight your transferable skills, showing how your talents learned elsewhere are applicable to magazines. For example, interpersonal skills, leadership and time management are valuable in any job. Just be sure to connect the dots – the person looking at your resume shouldn't have to work to figure out how your experience is relevant. Be specific about how your skills will be useful in the position. For more on how to portray transferable job skills, look here.

reader's question: how can a mid-career freelance writer get a mid-level editing job?

Q. I'm a freelance writer looking for a job as a mid-level editor and I can't even get to the interview stage. Pluses: five years experience, great clips, and excellent internships. Minuses: could use more editing experience and need to relocate. Even when the job description seems tailored to me, I don't get a response. How does one navigate the no-phone-calls-please job market from a distance?

A. Moving from writer to editor mid-career can be tough, but there are a few strategies that might improve your odds.

1. reevaluate your application package
Are you putting your best face forward? Even if you have the exact experience the position calls for, if you don't communicate that in your cover letter, résumé and clippings, you're not going to get the interview. For tips, see previous posts on putting together an application package, resume tips and how to write a cover letter.

2. prove you can do the job
Being a good writer and being a good editor are two different things – each job calls for a different skill set. I think the hesitation hiring managers have with bringing on a writer for an editor's position, is that maybe that writer will continue to write and not edit. The worst editors are frustrated writers who change copy heavily, inserting their own voice and rewriting the story. Prove you're not one of them by submitting an example of your editing. Other ways to show you can wear an editor's cap: submit a critique of the magazine you're applying to, hand in on-target story ideas, highlight your editing accomplishments in your résumé and cover letter, and resist the urge to send in more than three to five clippings.

3. keep networking
Continue to freelance and make connections in the industry, and make sure everyone knows you're looking to land a full-time editing gig. Knowing someone isn't likely to land you the job, but it will mean people will probably spend a little longer looking at your application. And they may even take a chance on interviewing you if they're familiar with your work ethic.

Beyond that, be sure to mention in your cover letter your willingness to relocate, and obey the no-phone-calls-please rule. It's acceptable to follow up once with an email to ensure your package arrived, but if you call, that will just piss them off and prove that you can't follow instructions.

Do you have a question about your editorial career? Email me at vangerwen[at]gmail[dot]com.

how much do top-level editors in the states make?

The results of Folio:'s 2008 editorial salary survey have been revealed. Beyond finding out how much top US editors make, the survey found out that, no surprise, editors work too hard: 72% of respondents have taken on duties beyond their job descriptions, mostly from online. Half of those say they've been poorly compensated for it. Regardless, we love our work: only 10% are not satisfied with their jobs.

new ryerson course on online editing

Ryerson University has added a new course to it's continuing education program in magazine publishing. Creating Website Editorial, taught by Best Health web editor Kat Tancock, will provide "students with a valuable understanding of web tools and opportunities to workshop appropriate content for them. It also addresses the most common strategic, logistical, and business-related challenges that come with producing great magazine websites." The course also has an accompanying blog.

reader's question: is it worth moving to new york?

Q.I'm entering my last year of university and I'm considering my options for after graduation. I'm a Canadian citizen, but I'm quite drawn to moving to New York to try and build a career there, or at the very least score some good internships. Do you think it makes sense to move to New York to try to gain more experience even though there's a strong chance I might end up back in Canada if I can't find an employer willing to sponsor my work visa? Do hiring managers here tend to favour candidates with experience at Canadian publications? It seems like the opportunities available in Canada are a lot more limited than in the States, and since I've only realized quite recently that journalism is the avenue I want to pursue, I feel quite behind.

A.I think moving to New York is a great idea, but I certainly wouldn't do it just because you feel you're behind in your career or that it's something you have to do in order to get anywhere. It is tough to break into magazines in Canada since there are limited options, but the community is small and once you catch that first break, you can advance pretty rapidly. New York does offer more opportunities in terms of sheer numbers, but from what I know of the business down there, it can be just as, if not more, difficult to land that first gig. And climbing the ladder can be vicious.

Moving to New York is an option I'm keeping in the back of my mind, too, but I wouldn't go for what Toronto doesn't have – I'd go for what the NYC does have. There, I would be able to apply to the specific magazines I love, to the titles I dream of working at. Plus, I love the city. It would be an experience in itself, and that's what you should be going for.

As for how that experience will be viewed should you come back to Canada, it's unlikely to harm your career and may even put you ahead of other candidates. If a big-name US magazine is listed on your résumé, at the very least, hiring managers will notice it and perhaps spend a few more seconds looking at your application (always a good thing). Beyond that, the knowledge of how other magazines and other magazine markets and industries function, gives you a broader set of experiences from which to draw on. You'll likely have fresh ideas to bring to the table, which is always valuable in an employee.

Bottom line, move to New York because you want to be there, not because you've given up on Toronto.

Do you have a question about your editorial career? Email me at vangerwen[at]gmail[dot]com.

laugh of the day: unpaid internships

An amusing post on unpaid internships can be found on Christian Lander's What White People Like blog.

In most of the world when a person works long hours without pay, it is referred to as “slavery” or “forced labor.” For white people this process is referred to as an internship and is considered an essential stage in white development.

White people view the internship as their foot into the door to such high-profile low-paying career fields as journalism, film, politics, art, non-profits, and anything associated with a museum.

If all goes according to plan, an internship will end with an offer of a job that pays $24,000 per year and will consist entirely of the same tasks they were recently doing for free.

[Thanks to Marco Ursi for sending the link.]

reader's question: how do I interview for jobs while I'm working?

Q. I am avidly looking for work as I am in a job I absolutely despise and I wonder if you have any advice on how to arrange interviews. I do my best to set them up on my lunch hour, but sometimes that is just not possible. And one can only have so many doctor appointments.

A. Doctor's appointments are a great strategy, but you're right, it will only get you so far. And there aren't that many more options. When you're called in for an interview, ask if it's possible to set it up either first thing in the morning or at the end of the day. I was once able to negotiate to have an interview at 5:30 because I politely explained the situation – that I was currently working and would like to be discreet about the fact that I was looking for another job. If you work flex hours and don't start till 10:00, an 8:30 or 9:00 interview might be an option. Taking a vacation day works as well, though it's less likely to tip off alarm bells if you take a Friday or Monday as opposed to another weekday. Other than that, take heart in the fact that most people are pretty oblivious and aren't likely to suspect anything. If you continue to work hard and be cheerful at your current job, "she's looking for a new job" probably won't be the first thought to pop into your boss' head when you take time off or come in a little late.

ed2010 toronto expands

As you may know, for the past few years I've been coordinating the Toronto chapter of New York-based networking group Ed2010 (ed-twenty-ten). We plan to expand our offerings of workshops, seminars and networking events, and to do so, have brought on two new staff volunteers. Briony Smith is a staff writer at ComputerWorld Canada and joins us as Assistant Toronto Host; Ann Brown is the editor of Design Edge Canada and joins us as Special Events Manager. My title has changed to Canadian Director.

If you're a young editor trying to break into the biz or build your career, become a member of Ed2010 by emailing us at toronto@ed2010.com. You can learn more about Ed2010 here.

not getting your due?

Yesterday, this question was posed to me: How do you make sure you get credit for your ideas when working in a group or if you're not the one who's presenting to the higher ups? How do you ensure your boss and the editor in chief know that you're a valuable employee?

The first thing to remember is that in any collaborative effort, your job is to work as a team. You have to make your team – and thus the boss – look good. That's your job. And any superior or coworker worth their salt will recognize your contribution.

But, if you feel that you're just not getting recognized for your brilliance, start taking ownership for your ideas. Not in the "That was my idea" kind of way, but in how you present them and in the way you speak about the ideas. Consider presenting your ideas when there are others around; the more people who hear them, the more you'll be known for being the one with all the good ideas. And when discussing the idea or story, use "I" a lot, as in "I thought it was a story our readers really need" or "I knew doing it this way would be helpful."

The other thing you'll want to do is to keep track of everything so that when it comes time for your annual review or time to ask for a raise, you can quantify your contribution to the magazine. It may be delayed recognition, but it's recognition nonetheless.

What do you think? Do you have any suggestions?

is it ok to be casual in an email?

As like most editors, much of my interaction with PR people is through email. This can lead to amusing realizations, like the time I attended an event and was introduced to a female rep when I was expecting a guy (she has a typically male name that can also be for a woman). And yesterday afternoon I was struck by how casual my communication has become with people I've never met face-to-face. I'm even guilty of using the dreaded emoticon.

I find I pick up on the cues of whomever I am "conversing" with, and as they become more casual, so do I. With many of my regular contacts, I've developed a friendliness akin to that of long-time real-life friends, and I wonder whether I am sacrificing professionalism for a cordial relationship. Does the medium – email – demand it?

tighten your real-world networks

Does everyone in your office know each other? Maybe they should. In the current issue of Wired, Clive Thompson writes about a fellow named Benjamin Waber, who has been studying real-life social networks. Through "reality mining," Waber has found that the more people in an office who know each other, the better an office functions.

On the Web, the best way to solve a problem is to engage an extensive network; the person who provides information, advice, or answers is often someone you know only vaguely — a weak link. In the face-to-face world, though, Waber says, groups are more productive when the team members know each other well, sharing extremely strong links. That's because face-to-face teamwork requires intimacy, he says, and "when you're among friends you can really capitalize on preexisting protocols" — nods, grunts, in-jokes — for talking and listening. ... When Waber examines company-wide communications, he can spot inefficiencies — two employees who don't know each other. Introduce them over coffee and — presto! — the office metabolism accelerates.

designer smarts

Found an interesting roundup of career advice on The Creative Group's website. At the 2008 HOW Design Conference back in May, they asked a number of the speakers to dish on their careers and how they made it to the top. They may be talking the world of design, but there are some universal nuggets, like

"I always learn a lot more from the really horrible situations." – Stefan Bucher, 344design.com

"As a young person, I wanted to do too many things; now I just want to do a few things very well." – Eric Karjaluoto, smashLAB

"You have to know the rules before you break them. This is so true. The most seemingly irreverent people are often the most knowledgeable at the very rules they shatter." – Steve Gordon, RDQLUS

"Be nice, treat others well and help people when they need it." – Von Glitschka, Glitschka Studios

don't assume you'll automatically be promoted

If the person immediately above you on the masthead has given his or her notice, don't take for granted that you'll automatically be moved up, even if it is the logical step. At the very least, speak to the department head to make sure he or she is aware of your interest. And you may even want to go as far as making an official application, with a cover letter and clippings – as if you weren't already working for the magazine. It honestly just may not occur to your boss to consider you for the job; you want to make sure he or she does. Plus, even if he or she was thinking of you, it shows them how much you want it and reinforces the fact that you're a good candidate.

media event survival tip

There are certain times of year when a flurry of press event invitations fill my inbox, and now seems to be one of those times. Going to these events is not only important for building relationships with PR people who can supply you with information to fill your magazine's pages, but also for touching base (i.e. networking) with other magazine folks who may be in attendance. The thing is though, I hate going alone. The awkwardness of standing by yourself with a drink in hand, not knowing who to talk to – no thanks. Which is why I've developed the tactic of RSVP'ing for myself, plus one. I'll ask a coworker, an intern or a colleague at another magazine to be my date, and I have a guaranteed person to chat with. If it's not appropriate for me to bring a guest, the PR contact will let me know that there's limited space and that there's no room for another person.

video hyperlinks: another potential minefield for ad/edit separation?

Inc.com reports that online videos can now be fully interactive with point-and-click links through a tool called Compulsion. The video player allows you to assign a link to anything that appears in a video, like a person's shirt or earrings, providing a benefit to viewers and opening up a whole new world of advertising opportunities. Product placement is nothing new in film and television, but in videos produced for magazine websites, would this compromise editorial integrity? Web editors regularly include links in stories, but to generate income, the ad sales team would have to become involved (as happened at CIO magazine earlier this year, to the outrage of its editors). I wonder how magazines could ethically take advantage of this opportunity?

always be networking

Through the wonders of Facebook, last night I got together with some friends from high school who I haven't seen, well, since high school. It was a productive night: I found a writer and my husband made contact with someone who works in his field. You can't be shy about talking shop or handing out business cards (which you should always have with you, even if you're just going to the grocery store). If you're shy about networking, particularly at networking events, check out these tips from Miriam Salpeter of Keepie Careers.

Speaking of interviews, it occurred to me that one of the best ways to learn how to conduct one is by watching someone else do it. There are plenty of examples on television, with talk shows and programs like Inside the Actors Studio (videos here) and The Agenda, but I wonder if these are as useful if most of your interviews are in relation to service pieces. And I wonder whether there needs to be more mentorship in our industry – more opportunities to learn by watching.

three tips on interviewing for a story

I'm in the midst of conducting several interviews for a project I'm working on. I've managed to avoid doing many interviews so far in my career, which I've always been relieved about since it's not my strong suit. But working on this project, I've had the opportunity to talk to numerous people on the same subject, asking many of the same questions. As I'm going through the process, I can see myself growing and becoming more adept at interviewing. At the beginning I was stiff, sticking to a list of questions and going from one to the next. Now it's more like my subject and I are having a real conversation. I'm getting better at guiding the interview to get the material I need, and since I'm not stuck to a list, I pick up cues from what the person says and get material that I may not have otherwise. Here are three ways to improve your own interviews:

1. Practice. You may not get to do the same interview seven time like I'll be doing, but like anything, you'll get better the more you do it.

2. Know your material – what you want to get from the interview – inside and out. Your list of questions then just becomes a reference to make sure you don't forget anything. This facilitates No. 3...

3. Have a real conversation. If you're more comfortable and your subject feels like you're actually listening to what he/she is saying, you're likely to get better responses.

do something nice for someone

Late last week, just before the extended long weekend (for some), when people are anxious to get out of the office, three colleagues of mine went out of their way to help me with a problem at work. Things went missing, stuff didn't happen when it was supposed to, and the trio did what they could to fix the issue. Beyond doing a favor for me, though, they have helped themselves. Perhaps a superior will have noticed their efforts, but even if not, I will (a) be the first one up to the plate should any of them need a hand and (b) sing their praises any chance I get. They are building themselves a reputation for being thoughtful people who are good to work with – an invaluable reputation in an industry as small as ours.

recommended reading: we love magazines

I've posted before about international independent magazine symposium Colophon. There's a companion book to the Colophon2007 event, which I've just finished reading, called We Love Magazines. It's worth picking up.

The book is split into two halves: the first part contains chapters on covers, advertising, and developments in design and production; key events in the independent magazine world (like the birth of New York magazine and when Ray Gun used Zapf Dingbats as the font for the body copy of one story); and interviews with the creators of magazine like Coupe, Frame, and this is a magazine.com. The second half is an index of independent magazines worldwide, which also appears updated on the website.

If you're at all interested in magazines beyond the big consumer glossies, take a look. I particularly enjoyed the opening chapter, "The Eternal Spirit of Adventure," written by professor Samir "Mr. Magazine" Husni. In it he quotes Amir H Fallah, founder and creative director of Beautiful/Decay, who echos something I've always said I love about working in this industry:

"It's a great feeling to know that the project is ongoing and that you have the freedom to continually refine it. I think that is one of the best things about publishing a magazine. If you make a mistake in one issue, you can fix it in the next."

where are the cover letters and clippings?

A friend of mine is currently going through the process of hiring an editor. Under the presumption that she would be inundated with proper application packages, she's been appalled and bewildered by the lack of cover letters and clippings – most applicants are merely emailing their résumés. Why, she wondered, has no one gone the extra mile? Some of the things you may want to include in the next application package you send in:

• portfolio
• tearsheets/clippings (preferably in colour)
• tearsheets of competitors with commentary on what they're doing right/wrong
• story ideas
• reference letters
• sample of a completed edit
• copy of the magazine or printouts/CD of the website you currently work for
• And I can't believe that people aren't including cover letters!

There's certainly no problem with email applications, but in most cases, if you really want the job, make the effort to put together a nice hard-copy package in a professional binder or folder. Then find out who you should address it to and mail or courier it to them. As my friend said, "If I were to get an awesome package, even if the job experience was a little lacking, I'd be so much more inclined to take a person seriously as a candidate."

common sense copyright

When you work in a creative industry like we do, copyright is a major issue – it's what allows us to make a living. In a video posted on the TED website, internet lawyer Larry Lessing makes a very compelling argument – one of the most eloquent and reasonable I've seen – for reevaluating our current copyright laws. The way legislation is now, a large majority of average, law-abiding citizens are breaking those laws on a daily basis. Specifically speaking of mashups and similar forms of creativity, Lessing points out that these are forms of literacy, of how "kids" come to understand digital technologies and its relationship to themselves. But...

"The architecture of copyright law and the architecture of digital technologies as they interact have produced the presumption that these activities are illegal. Because if copyright law at its core regulates something called copies, then in the digital world the one fact we can't escape is that every single use of culture produces a copy. Every single use, therefore, requires permission. Without permission you are a trespasser. ... Common sense, though, has not yet revolted."

With Minister of Industry Jim Prentice's Bill C-61 (see CBC and Michael Geist), it's obvious common sense is not winning. I haven't figured out yet how all this affects our line of work, but I think it's definitely something to pay attention to.

Here's the full video. (Filmed Mar. 2007. Approx. 20 min.)

advice for wannabe travel writers

Been on a trip recently and want to make some money off of it (or at least write off your expenses)? If you're interested in travel writing, travel writer Andrew Hempstead gives what looks to be realistic advice and a good overview of where and how to get travel pieces published. (I say "looks to be" because I know squat about travel writing.) In addition to magazine writing, he also covers guidebooks and provides tons of links to relevant organizations and other helpful websites.

the life-work balance: unlimited vacation time at techtarget

What a wonderful world it would be if more companies treated their employees like the adults they are. As reported by Matt Kinsman in his blog for Folio:, tech publisher TechTarget allows its staff unlimited sick, personal and vacation days. In a results-based industry like publishing, it makes sense to trust that your employees are going to take off only the amount of time that they feel they can handle while still getting their jobs done. If they've done their work, the issue gets published. I would think that this policy would automatically benefit the most talented, hardest workers even further, as they would be able to take more time off and still produce stellar magazines. It's a far cry from one place I worked, where staff had to keep time sheets and weren't allowed to work from home because it was assumed they were just playing hooky.

books: Up For Renewal by Cathy Alter

Do you follow the advice of magazines? In her soon-to-be-released book, Up For Renewal, writer Cathy Alter chronicles her year-long social experiment of using magazines as her guiding force in life. I'll spare you the book review – I just wanted to point out the fascinating premise:

"Cathy gave over her life to the glossies for the next twelve months, resolving to follow their advice without question. By the end of her subscriptions, she would get rid of upper-arm jiggle, crawl out of debt, host the perfect dinner party, run a mile without puking, engage in better bathtub booty, ask for a raise, and rehaul her apartment."

The book reminded me that, although I always take magazine advice with a grain of salt or adapt it to my own purposes, some people out there must blindly follow the counsel of service journalism. When packaging content, reducing solutions to 10 easy steps, perhaps it would do us well to consider this. I wonder, is it reckless of us not to?

ed2010 toronto résumé workshop: what those who do the hiring had to say

Tuesday night, the Toronto chapter of Ed2010 hosted its first resume workshop, with guests Joe Chidley, editor-in-chief of Canadian Business, Jenny Pruegger, HR consultant at Transcontinental, and Penny Caldwell, editor in chief at Cottage Life. The evening began with a panel discussion moderated by myself, the coordinator of the Ed2010 Toronto chapter, before attendees had a chance to speak on-on-one with their choice of panelist for a personal résumé critique. Here are some pointers from the discussion:

• Don't forget to proofread your résumé! Penny pointed out that though this may seem obvious, some people still don't do it. And in an industry like publishing, proofreading is especially important since it's a part of any editorial job.

• Send in a hard copy of your application package. A coloured folder or nice paper will stand out amid a pile of emails printed out on white bond paper.

• Send your resume to both the HR department and the editor. (You'll be happy to hear, HR departments tend to keep résumés on hand for about a year.)

• Include work experience outside the publishing industry only if it's relevant to the job you're applying to, it indicates a variety of transferable skills or if it fills gaps in your employment history.

• Use a professional email address. No cutesy names like foofoopants@hotmail.com. And don't send applications from your current work address – that's just tacky.

• And as important as your résumé is, don't send it out all by itself. Include a cover letter, clips, even a copy of the magazine you currently work for.

Did you attend the workshop on Tuesday? Post a comment to share what you learned.

what i learned at MagNet part III: Lewis Lapham on history – his own and the world's

The distinguished and revered Lewis Lapham spoke yesterday at MagNet about his life in journalism, his time at Harper's Magazine and his current project, Lapham's Quarterly. Two nuggets I'd like to share with you:

• The secret to good journalism, according to Lapham's mentor, is "steal."

• The merit of a journalism degree is in the networking opportunities. As far as skill is concerned, the best way to learn is by doing.

Lapham also appeared on The Hour with George Stroumboulopoulos last night.

what i learned at MagNet part II: taking our brands beyond canadian borders

At the MagNet session "Global Player: What's Next for the Canadian Magazine Brand?" Don Kummerfeld, president of the International Federation of the Periodical Press, presented a case for exporting our magazine brands into other countries. As he stated, while growth opportunities may be limited here, there are chances to expand into places like China and India, which have two of the fastest-growing magazine industries in the world. From syndication to partnerships to licensing agreements (think Transcon's More deal with Meredith), publishers small and big can make a buck overseas.

Unfortunately, it seemed as though no one wanted to listen. Questions and comments from both the audience and the panel revealed a kind of "well, that's not going to work here" attitude. True, Kummerfeld seemed a little out of touch with the realities of the Canadian industry in that our major players Transcontinental and Rogers have nowhere near the resources of publishers like Condé Nast or Hearst, but he did provide the example of a small plumbing magazine that has been able to set up editions in 16 countries with very little human resources. The point that stood out for me, though, and which I feel speaks to the Canadian tendency to undervalue ourselves, is that we mustn't underestimate the universal appeal of our magazines. There is a market for our voice beyond our borders.

what i learned at MagNet part I: texas monthly editor evan smith on how to diversify your offerings

It's a busy week for magazines, what with Mags U, MagNet and the National Magazine Awards. Yesterday I attended a session at MagNet called "Survival of the Fittest: A guide to the Multiplatform Universe" with editor and executive vice president of Texas Monthly Evan Smith. An entirely entertaining presentation, Smith had these nuggets of wisdom to share:

• Publishing a monthly is a bit like chain-smoking: as soon as you're done with one issue, you butt it out and light up another, without a pause in between.

• We are no longer magazine companies, we are content companies. It doesn't matter how that content is delivered, whether we offer it via print, tv, radio, internet, mobile, events...

• The balance of power has shifted. Audiences want content whenever and wherever; they will not sit around waiting for the next issue to come out in a month.

• Print and online audiences are not the same people, the demographics are different. Think about whether you really can sell them to advertisers in the same way.

• Directly engage your readers by being there in person, through conferences and events.

• Offer a point of view. The strongest media have something to say.

• "Readers bite back – hard." If you're going to offer yourself up to reader comments through blogs and the like, be prepared for some nasty comments. And suck it up.

• You must be a multitasker. Magazines are not simply hiring writers anymore – they're looking for bloggers and tv personalities, too. You have to be able to do more than simply sit down and write.

• Everything is your competitor. It's not just about the other magazines in your category anymore. You're competing with television, the internet, billboards and golf tournaments. They are all vying for viewers, they are all vying for advertising dollars.

• "Quality control is (inevitably) a casualty." You have to operate more quickly and it's not reasonable to impose 20th century methodologies – fact-checking, extensive editing, etc. – on 21st century delivery systems like blogging.

• Credibility is what will save us. When we're competing against 14-year-old Joe Blow blogging from his basement in Ottawa, the authority of our brands is what will draw readers and advertisers.

how to negotiate a starting salary

When you're offered a new job and it comes time to talk about money, always negotiate a higher starting salary. Why? Employers are expecting it and you can usually get more than initially offered, which not only means, well, that you get paid more, but that all your raises and bonuses will be more, too, since they're calculated as a percentage of your salary. Here are a few tips:

• Don't demand more; ask permission to negotiate. Explain that given your experience and what you'll be bringing to the table, you expected a higher starting salary. Then ask if it's possible to discuss it.

• When you start talking numbers, be specific. Don't just ask for more, suggest an exact salary or small salary range. And ask for higher than what you're willing to settle on.

• Don't forget that benefits and vacation time can be part of your negotiations as well. They may not be able to give you extra money, but maybe they can cover the cost of courses and conferences, or give you an extra week of vacation.

AOL Jobs has a few more good tips.

blog: copyblogger

A colleague just told me about the CopyBlogger blog. It has lots of great tips on blogging, all intended to help you get traffic, gain subscribers and attract links.

when taking a step backwards or sideways in your career is the right move

At some point in your career, you may be faced with the decision of whether to make a lateral move, or even whether to take a step backwards. How do you decide if it's the right move to make?

Will you be moving out of a toxic work environment? If you're miserable and your workplace is to blame, then a move might be the cure. Keep in mind though that you risk entering an even worse environment.

Does the new position offer opportunities you currently don't have? Maybe there's no room to move up where you are now, you'll have a chance to do things not currently in your job description, or the magazine you're applying to covers subject matters you would love to tackle.

Is your current title a true reflection of your responsibilities? Since there's some discrepancy between publishers of the job descriptions of each title, you may in fact be seeking the next step up.

Do you have any more reasons why a lateral or backwards move might be right for you?

going "backwards" in your career

When you're on the hunt for a new job, you may find yourself in the position of vying for a title that is "beneath" you. Whether you're trying to make the move from senior editor to associate, or section editor to assistant, in the interview you'll likely be asked why. Maybe you don't see it as a step down – explain why. Maybe your last position didn't offer the opportunities you wanted. Whatever the reason, have your answer prepared. Just don't tell them it's because you can't find a job at your level.

Tomorrow: Why a step backwards or sideways may be the right move.

ed2010 toronto announces first resume workshop

The Toronto chapter of editorial networking group Ed2010 is offering its first-ever resume workshop. Here are the details:

Learn how to get your resume noticed, with advice from those who do the hiring.

Join Ed for a panel discussion on the dos and don'ts of writing a resume, with guests Joe Chidley, editor-in-chief of Canadian Business,
Penny Caldwell, editor-in-chief of Cottage Life, and Jenny Pruegger, from human resources at Transcontinental. Then take advantage of our
one-to-one sessions, where one of our panelists will take a look at your resume and give you a personal critique. Space is limited, so reserve a spot soon!

Where: Upstairs, Deer Park Public Library, 40 St. Clair Ave. E., one
block east of Yonge at the corner of Alvin. Find a map here.
When: Tues. June 10, 6:00 pm
Cost: $25
Space is limited. To reserve a spot, email toronto@ed2010.com. You will receive a confirmation email with payment instructions.

write links as display copy

Publishing and website consultants West Gold Editorial (owners Susan West and Michael Gold are guest speakers at this year's Mags U), suggest that web editors treat links as display copy. Select text that is concise, clear, specific and informative, and make sure it's easy to tell that they're links. See some examples on their website.

quality is as important online as in print

In an interview with Folio:, New Yorker editor David Remnick points out that quality reporting is an issue whatever format you publish in.

"What I care about most is not paper versus screen, it's depth of reporting, quality of writing, humour, the integrity of the magazine – all those kind of things."

To achieve those qualities online, publishers need to recognize that they need to pay writers fees on par with print fees, and they need to dedicate enough staff and resources to manage a site. Many sites – even those of large publishers – are edited by one person. When the expectation is that the online version generate more content than the print version, how does this make sense?

bonnie fuller out at AMI: is the tabloid queen too overtly ambitious?

With news of Bonnie Fuller's departure from American Media Inc., speculation is in full swing as to whether she jumped ship or was booted out. Much vilified, Fuller is often depicted as being overly ambitious. She's "known for getting itchy feet," and switches jobs quite often compared to many others at the top of the industry. She's been at AMI for five years though, and in my books, that constitutes a decent run. If a great opportunity comes along or if someone feels as if they've done all they can and learned all they could, that they can't grow any further where they are, why do we begrudge their choice to move on?

award winning websites

Earlier this week, the 12th annual Webby Awards were announced. Check here for the nominees and winner of the magazine category. Web editors take note.

can awards be part of you HR strategy?

With the American National Magazine Awards just behind us and the Canadian NMAs approaching, winning big is on everyone's mind. Since there's some question as to the value of an award – does it help increase ad sales? do readers care? – it may make the most sense to look at industry awards as part of your HR strategy. What better way to show your staff and contributors that you you think they're doing a good job than by entering their work into consideration for an award? Studies have shown employees who feel appreciated are happier in their jobs and more loyal, and recognition by their peers is certain to boost their satisfaction – hey, they get to gloat in front of everyone!

how do your online research skills measure up?

The all-mighty Google is my go-to source when I begin research for an article. I'm not alone. A story in the Guardian (posted on the TFEW listserv), reports on a study that looked at online research behaviour. Of those of us who do use Google, not all use it wisely. The article states:

The report, Information Behaviour of the Researcher of the Future, found users "power-browsing" or skimming material, using "horizontal" (shallow) research. ...

Many libaries have assumed young students have learned to use the internet for research simply by virtue of their age. But while many are proficient with Facebook and Wikipedia, they may not be information- literate. Many lack lack the skills to differentiate between authoritative information and amateur blogging. ...

Students of all ages need to learn to make independent assessments of the quality of material by looking at the authors' experience, funders, use of sources, and where published. ...

Rowlands suggests in his study that schools are failing to equip students for independent online study. ...

My university never covered how to determine the veracity of online sources, and I know it's not the only one. Many interns I've worked with – as well as, unfortunately, a few editors – are quick to source the first site that pops up in their Google searches, even if it happens to be Joe Schmoe's amateur blog.

blogging for readers

Last night I attended CSME's spring mixer on blogging (see earlier post). Among many other interesting tidbits, the idea was raised that magazine blogs may be at odds with the very nature of what a blog is. (I'm sorry, I can't remember who said what, so consider due attribution paid equally to the three panellists, Douglas Bell, Heather Mallick and D.B. Scott, with some of my own thoughts mixed in.)

On one hand we have the blog: Immediate and visceral. Casual and conversational. Sometimes controversial. From the gut and unedited. On the other hand we have the magazine: Carefully choreographed over months. A well-managed brand. And definitely edited. So can a magazine that's so used to managing its brand relinquish control, which is arguably necessary to build a good blog that attracts readers? Are the blog's that magazines are coming up with too much in line with the magazine's mandate and not enough in line with what the readers want? Have magazines come to terms with the fact that a publication's audience and a blog's audience can be, usually are, two very different beasts? Are magazines forgetting the most important thing of all: readers come first?

website: MastheadOnline

It occurred to me today that I neglected to post about Masthead's expanded and improved website. A month or so ago, MastheadOnline dropped its paywall and added discussion boards and an internship category on its job board, among other improvements. Check it out here.

stop whining and do something about it

I'm with Craig Silverman on the constant complaining about freelance writing rates: we know the state of the industry sucks, now adapt. Among others, he offers two pieces of advice I've always believed in: build your brand, and always be learning.

[Came to Craig's post through Canadian Magazines]

event: CSME mixer on blogging

CSME's next mixer, on April 24th, is all about blogging. Douglas Bell of Toronto Life's Spectator, D.B. Scott of the Canadian Magazines blog, and Heather Mallick of HeatherMallick.ca talk about the ins and outs of blogs. Apr. 24, 6 pm, Bar Italia (582 College), $15 members/$30 nonmembers.

a refresher on why plagiarism is bad

Posted in the Ed2010 daily newsletter, this article on Slate reminded me of a girl I once worked with. Fresh out of school, she asked me one time, "Why does it matter?" when I pointed out that her copy was nearly an exact duplicate of an article from another magazine, which she had submitted as fact-checking material for her piece. Jack Shafer gives eight reasons why.

great editors: chris anderson, wired

Wired is one of the best and most innovative magazines on the market. If you don't read it, I suggest you take a look, regardless of whether you're interested in the subject matter. Its long-form journalism is exceptional, its service pieces are extremely reader-friendly and it continually breaks ground in subject matter and production innovation (its covers are particularly ingenious). Obviously the strength of the magazine is in a large part due to the editor, Chris Anderson. Noticed this interview with Anderson by Charlie Rose on the Canadian Magazines blog today. They talk about Anderson's cover story in the recent issue (see previous post), but Anderson also has some interesting things to say about magazines in general.

(approx. 22 min)

are big publishers treating professional writers as hobbyists?

A few days ago, I attended a panel discussion put on by the Rotman School of Management's Martin Prosperity Institute at the University of Toronto. Entitled The New Economics of Selling Digital Media Online: How IP [Intellectual Property] Protection Fosters Economic Prosperity, the discussion covered the usual refrains of intellectual property, the right of creators to charge for use of that property, and the lack of enforcement of IP laws in the "Wild West" of the internet. Most of the comments related to the music industry and the difficulties it has had with peer-to-peer networks, including a point made by the Canadian Recording Industry Association's president, Graham Henderson, in his closing remarks. He brought up Chris Anderson's article on the free economy in the March issue of Wired magazine, and took Anderson to task for the following passage from the article:

Some artists give away their music online as a way of marketing concerts, merchandise, licensing, and other paid fare. But others have simply accepted that, for them, music is not a moneymaking business. It's something they do for other reasons, from fun to creative expression. Which, of course, has always been true for most musicians anyway.

Henderson bemoaned the attitude that musicians shouldn't expect to make money at creating music, and that the creative class may increasingly come to be viewed as hobbyists.

It got me thinking. Are publishers treating professional freelance writers as hobbyists? Since writing, both online and in print, is subsidized by advertising, and readers already expect to get content for free or nearly free, it could be argued that the assault on freelance writing income comes not from those who consume it, but from publishers who are asking for more rights for less money. There are even those who expect writers to produce well-conceived copy for free. My question is, are publishers relying on the for-the-love-of-it drive in writers, and in turn revealing their disrespect for the profession – or perhaps "hobby" – of writing? Are publishers turning professional writers into hobbyists?

do you wiki?

Just read this article on the American Journalism Review site about the veracity of Wikipedia. I've always believed that you just can't trust the user-generated online encyclopedia enough for it to be a primary source, but agree with David Cay Johnston, a New York Times reporter, who is quoted in the article as saying, "As a tip sheet, as a road map to reliable sources, Wikipedia seems valuable." What do you think? Do you use Wikipedia for research, and if you do, in what way?

international and independent

For some insight on how the little guys do it, check out the website for Colophon, an international symposium on independent magazines that's held every two years (the next is March 2009). In addition to interviews with the makers of small magazines (it's not clear if the interviews are with the designers or the editors), the site features an extensive directory of magazines from around the world.

blog: magCulture

Two of my favourite books on magazines – magCulture and Issues – are by Jeremy Leslie. I just stumbled across his blog about magazine design, which covers some great cutting-edge publications.

cafe chat

The Calgary Association of Freelance Editors (CAFE) are holding a Marketing Chat/Book Exchange at the Birkenshaw Apartments on Feb. 26.

lunch & learn

Wed., Feb. 13, CSME is offering up a luncheon on how to create great online content. It will be held from 12-1:30 at P.J. O'Brien's Pub on Colborne (Toronto).

early birds

The other day, a friend of mine received a reply to a resume he had just submitted: "Sorry, but the position has been filled." Thing is, he was still within the deadline listed on the job posting. Just goes to show you that it's a good idea to submit your resume as soon as possible. If you wait until the last day, they may have already started interviewing people and found the person for the job.

the basics

The Magazine Publishers of America (MPA) publishes four downloadable PDF brochures on the fundamentals of having a successful career in magazines. They 're full of common-sense tips on breaking in to the industry, navigating the work environment and advancing your career.

rainy days

If Mark Newman is right – that everyone will be fired at least once in their careers – then I can't help but think that if I've made it this far without getting the ax, then when it happens to me, it's going to be pretty big. He's right though, even if you're great at what you do, that's no guarantee that you won't be let go. Publishing has so many ups and downs, there's no way of knowing if your job – or your magazine – will be around tomorrow. A few ways to be prepared:

• Update your résumé regularly, especially when you've completed a major project (good résumé fodder) or your job description has changed, even if your position hasn't.
• Always be networking. Your contacts are good sources of leads when you're suddenly looking for work.
• Have a buffer in your account. Keep enough money in your bank account to keep you going for at least a month, more if you can.

who should I send my resume to?

Resumes should go to both HR and whoever is doing the hiring, usually the managing editor. If you're not sure who's in charge, call the publication and ask (usually it's best to speak with the editorial assistant).

writing workshops

Two workshops that may be of interest (as posted on Canadian Magazines):

The PWAC chapter in Moncton is hosting "The Write Stuff: Writing for Profit Workshop" on Sat. Jan. 26, in which they'll cover carving your niche, finding appropriate markets and protecting your rights.

The Ottawa Art Gallery is presenting a series of workshops on critical art writing, called Articulation. The six workshops run on Saturdays between Jan. and May.

professional development

Coming up this March, Magazines Canada is offering a two-day intensive program in Vancouver about online publishing. Web Weekend will cover sales, marketing and building online communities. Similar events were held in Toronto and Halifax late last year. For more info, check out Magazines Canada.

how much?

A few weeks ago, I was speaking to a friend about a freelance proofreading gig she was applying for. What got me was that the publication she was dealing with requested that she keep in mind that they were a small operation with a limited budget, and should quote her rate accordingly. Essentially, they were pressuring her to reduce her rates. My advice to her: Quote your usual rate (or slightly above), letting them know that you're willing to negotiate (provided that you are, in fact, willing to). This establishes the worth of your work while signalling that you are flexible. It's also a good idea to decide what your minimum is before beginning negotiation; you'll be mentaly prepared to walk away if they're unwilling to pay a fair amount.

professional development

The Toronto Chapter of the Professional Writers Association of Canada has some useful seminars coming up, including one on the art of writing profiles (Jan. 22) and another on how to balance a freelance career and your personal life (Feb. 19). Find the entire listing, with times and location, here.

what do I charge?

Curious as to how much your work is worth? One handy resource is the What To Pay a Writer page on the Professional Writers Association of Canada website.

being a better boss

I've had my fair share of good and bad bosses, both in and out of the industry, as I'm sure you all have. On the Folio: site, editor Mark Newman blogs about taking care of his staff.

edit beautiful

In an interview with Mediabistro, House Beautiful EIC Stephen Drucker talks about the shelter category, rising to the top and the art of editing. Here's what he has to say...

On over-intellectualizing

"Editors feel the need to make it really important, and they make it important by over-intellectualizing it. It's really about pleasure. It doesn't need a big intellectual justification. It doesn't have to be puffed up into something big and important. What often happens is that while everyone is intellectualizing, all the reader just wants to know is, "What's that great color blue on the wall?"

On getting to the top

"When I started, it was really very simple. You started as an editorial assistant. You hoped your boss left, retired, or died, and you stayed, stayed, and stayed, and the last person standing, with luck, got to be editor-in-chief in their 40s or 50s. ... Now, there is much more respect for people at every level of a magazine, because the staff is smaller. It's recognized that a 24-year-old editorial assistant may have a lot to contribute with voice, their knowledge of the Internet, and what they like, because it's an indicator of what's to come."

On writing fashion copy

"It's a great art to write fashion copy. It is a really specialized and under-appreciated skill to write those haikus that go into fashion magazines. To write captions for magazines like ours, they have to sound really musical. It's all in the ear."

On knowing your reader

"When you come to a magazine, it's a mistake to think you can just walk in and succeed. No matter how much experience you have, you have to come in and get to know the reader of your particular magazine, even if you've worked at five other magazines in your category. The reader of your particular magazine has very particular likes and dislikes, and it takes an ear to learn what they are, no matter how astute an editor you are."

Read the entire interview here.

the information meeting

I was recently reminded by a veteran in the biz about the information meeting. If you're just getting started in your career, it's worth asking an editor or HR person if they would be willing to meet with you just to chat about the biz, critique your resume, talk about what positions you may be qualified for, what skills you need to get to where you want to be, and, in the case of editors, how they got where they are.

the value of a mentor

I've had a rash of emails recently from people who are feeling defeated in their hunt for a job – who are becoming disenchanted with the magazine biz. At times like these, it helps to have a mentor to turn to. It was one of my own mentors who reminded me of this when I asked him whether he had advice I could pass on to these editor/writer hopefuls. Having someone who understands the business and knows your history, talents and goals, someone who can provide you with tailor-made advice and encouragement, who can guide you through your career – this is invaluable.

So where do you find one? Look around you. Perhaps there's already a more senior person you've worked with, with whom you've clicked. If not, keep an eye out for people who are especially kind or interested in what you're working on. Developing this type of relationship takes time and should develop naturally – you'll pick them up in school and through your early career. To nurture this type of connection, ask advice when you need it – people are generally flattered to be asked and are usually happy to help out. Be sure to always thank them for their advice and let them know if it helped you land that job or primo assignment. Put them on your Christmas card list and email them articles you think they might be interested in. However you do it, stay in touch. Weekly updates aren't necessary, but a kind hello a few times a year is good.

your online presence

In one of Folio:'s new blogs, Matt Kinsman comments on the connection between Facebook and jobhunting.

recommended reading

This book, The Magazine From Cover to Cover by Sammye Johnson, offers a great overview of the industry. I believe some magazine programs use it as a textbook.

watch this

Along with a spiffy new design, the Folio: website now offers videos. There's some great stuff, including this one with Esquire's EIC David Granger.

cubicle-land

Ok, this isn't specifically magazine-related, and it won't do much to help your career, but I find it amusing. Wired has posted the results of its search for the saddest cubicle ever.

your work is worth something

A friend sent me the link to this video in which science fiction writer Harlan Ellison talks about not getting paid for his work. He's speaking of Hollywood, but it's the same in magazines: When amateurs (and newbies) so readily give up their writing for free, people stop wanting to pay, even for first-rate work from professionals.

make your schoolwork work for you

If you're currently in J-school, it's a good idea to parlay as many of your assignments into published work as you can. As one NYU student writes on Media Bistro, journalists are "not journalists if they don't publish, if they don't engage with the world outside the classroom." Don't wait until you leave school to engage. Some instructors serve up assignments that require pitching your story to an existing publication, but even if yours doesn't, look for such an opportunity where you can. That way you'll at least get some experience pitching, and may even end up with a few clippings.

for the love of money

In case you didn't know it already, being in this business isn't about money. Check out this article posted on the Canadian Journalism Project website. Jeff Gaulin (of journalism job board website jefgaulin.com) answers the classic question of whether there's money to be made as a journalist, plus offers up a few tips on how to find work.

(Thanks to David Hayes for posting the article on the Toronto Freelance Editors and Writers listserve.)

clip art

Every time you apply for a job, you have to include writing samples along with your resume and cover letter. But how many, and which ones? My favourite number is three: It shows a nice range without being overwhelming to the potential employer. The clips should be as closely related to the publication as possible – include a health article for a health magazine, a home decor story for a home decor magazine. Aim for a balance of long-form, service, well feature and upfront pieces. If the content isn't related to the magazine you're applying to, the format should be.

ed2010 happy hour

Ed2010 (Ed-twenty-ten) is a social networking group of young magazine editors, of which I'm the Toronto Chapter Host. The group is based in New York and has city chapters across the States. It's basically a peer mentoring organization, whose goal it is to help young magazine editors reach their dream jobs. Every few months we get together for a Happy Hour to drink, share industry gossip and meet others in the biz.

The next Ed2010 Toronto Happy Hour will be at 6:30 pm on Tues., Nov. 27th in the Conservatory (second floor) at the Duke of York, 39 Prince Arthur Ave. It's steps from the Bedford Rd. exit of the St. George subway station.

not getting the interview?

Maybe it's your cover letter. Your resume tells potential employers what your qualifications are, but it's your cover letter that tells them why you're the right person for the job. Here's my secret formula for a killer cover letter. It's worked for me, and one colleague of mine has gotten an interview for every job she's applied to by using this method.

the opening paragraph
Keep your first paragraph brief. Let the potential employer know what position you're applying to and where you heard about it. This is the place to name drop if someone they know recommended that you apply. Complete the paragraph with an overarching statement about how you're the ideal candidate, without going into details – this sentence is merely a set-up for what's to follow.

the body
Choose two or three key traits or skills that are valuable to the position: Do you function well under stress? Are you adept at meeting tight deadlines? Do you have a knack for packaging stories? Write one short paragraph for each, using a specific example from your past to illustrate each point, with the purpose to draw parallels to the position you're applying to. Don't rehash your resume.

the final paragraph
Conclude by asking for the opportunity to discuss further how you can help them (i.e. ask for the interview). Thank them for their time and consideration, then promise to follow up.

Overall, be direct and concise, and use active language. Most importantly, don't lose sight of the fact that it's all about them – how will you solve their problems? They just don't care that this is a great opportunity for you. They want to know how you're going to help them.

Oh, and it better be the best damn piece of work you've ever written.

just ask for it

I'm slightly ashamed to admit it (I'm anti self-help industry), but right now I'm reading a book called Women Don't Ask by Linda Babcock and Sara Laschever. The take-away advice: Ask for what you want. If you want your internship to turn into a full-time job, ask for it. If you want a raise, ask for it. If you want that plumb assignment, ask for it. People are not mind-readers; don't expect them to know your career goals and don't beat around the bush or merely hint at what you want. Ask for it.

ed's makeover

If you haven't seen it yet, check out Ed2010's new website. It's full of useful career advice, including articles like this one on cover-letter writing. The site also features a message board for talking with other editors.

recommended reading

Whatever you may think of his bestselling novels, Stephen King turned out a must-read in his book On Writing: A Memoir of the Craft. Part autobiography, part textbook, On Writing makes the case for clear, concise and engaging storytelling, which should be the ultimate aim of every writer, from fiction authors to investigative journalists.

pick me, pick me!

A few notes from the seminar on Self Promotion for Freelancers, held Wed., May 16, 2007, by the Toronto chapter of the Professional Writers Association of Canada (PWAC). Panel members were Nate Hendley, John Watkis and Paul Lima.

To paraphrase Paul:

• Define your business vision: Who are you? What exactly do you want to do? Where and when? Who do you do it for? Why? Defining yourself and your business in this way helps you determine who your target market is. You're not just a writer who will write anything. Can you write political speeches? Pharmaceutical texts? Can you work in Columbia or Italy? No writer can write anything anywhere.

To paraphrase Nate:

• Do the hustle. Press the flesh. Actively promote yourself by attending networking events, not only magazine industry events, but any event where potential business sources may be. When at an event, introduce yourself to people, hand out your business card and ask lots of questions.

To paraphrase John:

• Networking is like dating: you don't necessarily have to sell yourself right away, you just need to convince them to see you again.