reader's question: does my foreign experience count for anything?

Q. I am a foreign citizen with an open work permit for Canada and am trying to find a job as a journalist here. I posses a journalism degree from a foreign school and have more than 12 years of job experience, with articles of mine being published in both English and my native language.

I have applied to many positions, but even though I consider my resume as comprehensive enough, I haven't been invited to any interviews nor had any other kind of response. As it is not usual for employers to give reason for declining a candidate, I don't know why I haven't been considered. But following debates about Canadian employment policies and immigration, I came quite often across the complaint that Canadian employers do not recognize foreign qualifications and experience (enough). This lead to my assumption that there are problems with my foreign degree/ experience and that I would have to obtain a Canadian degree in order to improve my chances to be considered for employment.

Do you think it is indeed my foreign degree and my foreign experience that let my applications fall through? Would pursuing a Canadian college degree in journalism significantly improve my chances or would I just waste a lot of time and money just to find myself in the same situation again 2 or 3 years down the road?


A. You're not the first person to ask me this. Unfortunately, you're partially correct: foreign credentials and experience don't hold up as well against Canadian experience.

It's not politically correct to say this, and most people won't admit to it, but employers, whether consciously or subconsciously, likely make the assumption that non-natives just don't get it, in a number of ways.

First of all, there's the language issue. In an industry built on mastery of the written word, can they count on someone for whom English is a second language to turn in polished copy? Will sentences, paragraphs, be stilted and need more editing than usual? If the person is applying to be an editor, will they be able to correct copy correctly? No mater how fluent you are, there's always at least a small doubt.

To counter this assumption, your resumé, cover letter and any correspondence must be impeccable. I'd recommend having a born-and-raised Canadian read over your application. In addition to the standard proofreading, he should look for uncommon turns of phrases – sentences that although correct, are not the usual way something would be said. Whether it's the choice of one word over another, or the structure of a sentence, the smallest thing can eliminate you. (Hey, even a minor typo or misplaced comma can land a resumé in the No pile – a problem for every applicant, Canadian and non.)

An extension of the language issue is whether or not a foreigner understands and is able to navigate Canadian culture. Do you get the cultural references? Will you know where to go and who to call to get information or secure an interview? For example, if you're assigned to write a story about the current hearings to determine whether broadcasting over the internet should be subject to federal regulations, will you know what the CRTC is and its history? Will the editor have to hold your hand, explain things? Will the story take longer, or will you miss something? Fair or not, an employer might wonder.

Finally, there will be the question of whether your credentials are equivalent to Canadian credentials. Associate editor at a mag in another country? Did you do the same thing as an associate editor does here? That newspaper clipping: done for a reputable outfit, or some Mickey-Mouse operation? An employer might not know what weight to give your experience because he's just not familiar with where that experience comes from. And when he's going through hundreds of resumés, the extra work of trying to figure that out can be enough to send your application to the reject pile.

So this doesn't happen, make it easy for the employer. Think about including things like URLs to the websites of publications you've worked for in your resumé or cover letter, or circ numbers to indicate the size of the magazine. Include descriptors where you can, like "largest daily" or "published by such-and-such-country's second-largest publisher". You want to give the employer a good sense of the type of places you've worked for.

Now, I wouldn't recommend starting from scratch and going back to school to get a Canadian degree. Unlike some professions, it's not necessary to update your qualifications in order to practice journalism. However, a course or two of a continuing education publishing program could help familiarize you with the Canadian industry and some of it's major players. You'll also meet other people in the field (instructors and classmates) who may be able to advise you on other resources or aid you in your search.

You'll also want to work on getting some Canadian clippings to add to your portfolio. Pitch stories to any magazines and newspapers that interest you, and don't discount ethnic community publications. You have the distinct qualifications to write for such a magazine or newspaper. Think about how your unique experience could be a benefit for a company and highlight that in your application.

Like any job seeker, you'll have to clearly communicate how you can benefit the publication to which you're applying to. If you do that well, you should have no problem getting the interview.


*Question has been edited for length and identifying details.

if it can be done better, good isn't good enough

If you're interested at all in the indie craft community, you're probably well aware of a recent documentary called Handmade Nation. It's not a great film (bad camerawork, among other issues), but it's worth seeing. It features interviews with all sorts of crafters, people who do things like sewing, bookbinding and needlework.

What struck me was that there didn't seem to be much talk about the actual craftsmanship of the crafts. Some of the handmade goods highlighted in the film were downright hideous. Personal tastes aside, if I'm going to spend money on something handmade, I want to know that it's not going to fall apart, that it's well made and that there was some effort put into it, that the maker has pride in his/her work.

Where am I going with this? Whether you're a crafter or an editor, you should pay attention to the craftsmanship of the work you produce. It's not just the ideas you come up with that matter; it's the execution of those ideas that's going to determine how much mileage they get – and ultimately what type of reputation you'll build for yourself. For a crafter, that means making sure your stitches are straight and there isn't glue seeping out everywhere. For editors, it means, among many other things, having the fact-checker make one more call, just to be sure, and not settling for a photo because you're tired of searching the stock files for something better.

And that's what it comes down to: Don't settle. Put conscientious thought into the work you do, be willing to toss something that's not up to par, and take the time to do the job over, if that's what needs to be done. Don't take the easy route just because it's less effort or there's no time.

Work hard, be proud.

time for recess

I had a really productive day yesterday. Well, at least up until about 3:00. That's when I crashed. Completely lost my concentration. It probably had a lot to do with my carb-heavy lunch, which I happened to eat at my desk, working.

Afternoons always go better for me if I take a break at lunch – get away from the office and go for a walk, or spend time perusing the nearby Chapters library. I'm looking forward to warmer weather when I can go sit in the park.

The benefits of taking a break is not new knowledge, but it's easily forgotten or ignored (we're all so busy making our deadlines). To renew your energy and improve your concentration and productivity, step away from the grind, even just for 20 minutes. A walk through the mall will get the blood flowing, but a hit of nature will do you one better.

The reason may be that the brain uses two forms of attention. “Directed” attention allows us to concentrate on work, reading and tests, while “involuntary” attention takes over when we’re distracted by things like running water, crying babies, a beautiful view or a pet that crawls onto our lap.

This comes from an article citing research that shows children who are exposed to nature during the school day are better behaved in the classroom and can concentrate more. Stands to reason the same would hold true for us adults. The article continues:

Directed attention is a limited resource. Long hours in front of a computer or studying for a test can leave us feeling fatigued. But spending time in natural settings appears to activate involuntary attention, giving the brain’s directed attention time to rest.

“It’s pretty clear that all human beings experience attentional fatigue,” Dr. Faber Taylor said. “Our attention has to be restored from that fatigue, and there is a growing body of research evidence that nature is one way that seems particularly effective at doing it.”

going the extra mile to get the job

Remember "the best job in the world" that I posted about – caretaker of Hamilton Island in the Great Barrier Reef? Not only has the competition generated tons of interest and free press for Tourism Queensland, but it's also attracted some creative applications, like this video and blog entry from Vancouverite Marcella Moser.




It's not my taste, but it is completely appropriate for the job to which she's applying. The key is that it's all show, not tell. Marcella has demonstrated that she's capable of writing a blog, producing video and handling the back end by creating a well-designed custom site. The blog also gives a sense of her writing style, interests and personality, and proves that she can come up with a good idea and execute it well.

Now, by no means am I suggesting you all go out and make a video and start a blog for every job you apply to, but think about what would be appropriate. And even if you stick to a simple cover letter and resumé, keep these points in mind:

• Show more than tell. In your cover letter, include examples of past situations that demonstrate relevant talents. In your resumé, list accomplishments instead of just duties.

• Consider your audience. Include keywords from the job posting and highlight duties and accomplishments most relevant to the position.

• Tailor your application to the recipient. Do the above for each job you apply to. Every position is different, so every application should be.

Related posts:
• Creative resumés
• Putting together a good application package
• Writing a good cover letter

send in your resumé twice

I was starting to question my assertion that it's important to send in a hard copy of your resumé and cover letter – email and online applications have quickly become the norm – but this tip from resumé professionals, cited in the New York Times, supports my theory.

[I]f you really want to make an impression, make a hard copy of your cover letter and résumé and send it to the hiring manager by regular mail. Attach a handwritten note that says, “Second submission; I’m very interested,” [Katy] Piotrowski, [author of career books and a career counselor,] said. “I’ve had clients double their rate of interviews simply from doing that,” she said.

[Wendy S.] Enelow, [author of “Cover Letter Magic,”] calls this “double-hitting,” and says she has seen it work remarkably well. She said a senior-level client of hers got an interview and was hired because the hard copy of his cover letter and résumé reached the company president, whereas his electronic application was rejected by someone in human resources because it did not meet certain rigid criteria.

want an internship? that'll be $8,000 please

Apparently not only do some internships not pay, but they also cost money to get. A story in the Globe and Mail reports that one charity is auctioning off internship placements (some going for as much as $50,000), and another company guarantees a two-month internship for $8,000 (both US dollars, both offering spots in publishing).

While the author and most of the commentators are outraged – another way for the upper class to get the upper hand, they say – I simply think it's just a stupid idea, not an affront to meritocracy.

In the case of the auction, it's just the charity trying to find clever things to sell and companies donating the placements saying, "sure, we can have some idiot follow us around and ask questions (and do some grunt work!) for the good of some nonprofit." It looks like each internship is only a week or two – hardly an impressive stint to put on a resumé, regardless of what company the internship is with.

And the $8,000 guaranteed placement: Details are slim, but it looks like there is some sort of screening and interview process; it's not only money that will get you the job.

It's the people who pay that I think are stupid. With ingenuity, drive and perseverance, one should be able to arrange their own internship. Why not take the money you'd pay for the placement and live off it while doing the job, since you're not getting paid.

Thanks to Clare Douglas for pointing out the Globe article to me.

how to assign and edit a story

Folio offers up a succinct 14-step guide to assigning and editing a story. It's good reference for newbies, and a nice refresher for old hats. Something that didn't occur to me but seems so obvious: Don't give your writers Friday deadlines – these often become Mondays.

Hat tip to Penny Caldwell.

Ed2010: on RRJ.ca and details of the next Happy Hour event

Check out the profile of Ed2010 on the Ryerson Review of Journalism website. (In case you don't know, I'm the Canadian Director of the editorial networking group.) I just want to add a shout-out to assistant chapter host Briony Smith, who didn't happen to be mentioned in the article (though she was interviewed) – she coordinates all our Toronto Happy Hours, among other things.

Speaking of Happy Hours, Ed Toronto's next one is being held Wed., March 11, 6-9 pm at The Duke of York (39 Prince Arthur Ave., near the Bedford exit of St. George subway station), in the 2nd floor conservatory (go upstairs to the back).

Come out and mix and mingle with other magazine editors. We're having another Chat-with-an-Editor Raffle, with a chance to win dinner with Liza Cooperman, executive editor of Hello! Canada. Tickets are $6 in advance, $5 at the event. Plus, we've got door prizes: Everyone in attendance has a chance to win one of two free one-year subscriptions to Walrus Magazine.

So come on out and bring all your friends!!! For full details, check Ed Toronto's Facebook event page.

reader's question: can I accept a new job if I just started this one?

Q. I just started a job about a month ago. The people are nice and there is good job security, but I don't particularly enjoy the day-to-day work and I don't feel like I fit here that well.

I've been asked to interview for another job that's not quite up to par with my experience, and as thus, it pays a bit less, but it's back in publishing doing what I love, and the commute is better. There was also talk about another position that interests me opening in a few months, so there's a chance I might be able to talk them into hiring me now to fill both positions and paying me a bit more but saving on a salary in a couple of months.

Am I totally screwing up my reputation/career/resume by leaving a company so quickly after joining with them?

How do I explain why I would leave this job after a month without scaring the new employer off? Do I tell them that it's a temp position or something?

How do I deal with taxing my references again? They just received phone calls from my current company less than two months ago. I'd hate to wear them out!

A. Seems like you are in a bit of an awkward situation, but the thing to keep first and foremost in mind is to do what's right for you and your career, and to be honest.

A month may be too little time to truly determine whether your current job is a good fit, but there's no harm in talking to another company to figure out if it's where you'd rather be. If you feel you can negotiate and convince them to hire you to fill both positions, and if it is your dream job, then go for it.

Don't worry about screwing up your career: just be honest and sincere about why you're leaving, and be considerate. If you are offered and decide to take the new job, explain to your current employer that it's an opportunity you just cant give up. Acknowledge that you're putting them in a tough spot of having to look for someone again, and say that you'll try to make the transition as smooth as possible. Do not mention that you're not happy where you are. Every conversation – with your current employer and all future employers – needs to be about how good the new job is. In your interview, stick to the story that you're really excited about the opportunity – it will only flatter the hopefully new boss.

When it comes to references, same thing: be honest. Explain the situation, acknowledge that you're asking a lot of them, and say that you understand if they'd rather opt out of vouching for you this time around.

As for your resumé, there's no rule that you have to list every job you've ever had, so you can just leave off your current gig (a month of not working won't ring any bells for people looking at your resumé in the future).

*Question is edited for length and identifying details.

sacrifice the few for the good of many

It makes sense that anything a company can do to minimize layoffs is a good thing, but it seems this isn't necessarily true. An article in Maclean's says

[W]age rollbacks are actually worse for worker morale than layoffs. When workers are fired, it generally sends a wave of discontent through the ranks. But then the affected employees are gone, and after a few weeks, things return more-or-less to normal. In contrast, when wages are cut, bad feelings linger in the office for months as employees grumble and debate whether they’ve been mistreated by management, and when they’ll get their “real” full paycheque back. Strange as it may seem, employers believe it’s actually less disruptive to simply fire people.

matthew teitelbaum on leadership

CEO of the Art Gallery of Ontario, Matthew Teitelbaum shares a few words in a video on the Globe and Mail website. Here's a bit of what he had to say about managing the Frank Gehry renovation...

On leadership:

"My job as a leader was, in a general sense, to give people the tools to do the best job they could."

On goal setting:

"Keep alive the short-, medium- and long-term goal."

On change:

"At the very root of this project is the notion of change. And in any change process, there is an extraordinary sense of loss. My experience is, if you don't anticipate the loss, if you don't somehow talk to what people have to give up, then you can't keep them with you. So you have to talk about what they're giving up in the language of what you're going to create for them. And when you do that, you can keep diverse interests together because everyone feels that they're part of the end goal."

On relaying a vision:

"Leadership is about clearly articulating, to the best of your ability, the path to the goal. Repeat the goal, repeat the goal. ... Keep your eye on the goal and find effective, powerful ways to communicate that in different ways."

On work relationships:

"To lead a process of change, you have to empathize both with what people are getting and what people are giving up. So stay close to the people who you need as your community and really listen. Stay close to them, create the relationship, listen so you can move forward because a change process is painful."

hand out your personal email address

I've spoken before about how important a well-managed address book is, and part of that is making sure you have personal email addresses of key contacts. As people move on, leaving one job for another, you may lose touch with them if you don't have a way to reach them besides a work email and phone number.

With this in mind, it's also a good idea to hand out your own personal email so you can be reached should you switch jobs. As Chris Brogan suggests

"Either get a gmail/yahoo/hotmail account, or buy a domain that can be yours forever. Use that email for secondary contact with any business contacts you might want to retain across many relationships. Do your work on your work email, but keep a “stay in touch” channel alive."

Hat tip to Sharon Donaldson.

how are you?

Had a very pleasant evening last night at the launch of the final print version of Masthead. Caught up with some old friends, made some new. And of course a common topic of conversation was the state of the world and the state of the magazine industry. Everyone seems a little nervous – it's tough. And I just wanted to ask you how you're doing? How are you holding up? Whether you've lost work, have seen cutbacks or have managed to hold on, it's all a little scary. Even those who feel secure in their jobs can't help but feel that maybe they should be worried, even just a little, because hey, you never know.

So how are you? What's on your mind? What are you thinking? Leave your comments or just send me an email (vangerwen at gmail dot com). I'd love to hear from you.

working hard or hardly working?

With layoffs galore and companies asking staff to take unpaid vacations or cut down to four-day workweeks, a lot of editors are likely wondering how to get everything done with fewer people in less time. (Maybe next week I'll blog about how to go about doing that...)

So it struck me as a little funny to be reading an article in the New York Times about occupying yourself with busywork in the hope you won't get sacked.

"[W]hen business is verrry slow and the possibility of layoffs icily real, looking busy is no joke. In retail and real estate, restaurants and law offices, many workers are working hard to look necessary — even when they don’t have all that much to do."

It makes sense that this habit would evolve in industries where business has slowed down – where customers and clients are quickly becoming scarce – but in magazines, even when ad pages are down, you still have to put out the issue. I would think the challenge for us is how to manage an increasing workload; am I wrong? Is anyone out there mastering the art of killing time?

Regardless, everyone is working harder to keep their jobs. Just try not to be obvious about it.

"Experts on workplace behavior say that mustering a token show for the boss can backfire. If a worker isn’t already regarded as diligent, 'This is a bad time to manage the impression that you’re a hard worker,' said Robert Giacalone, a business school professor at Temple University. 'There’s fear out there, and that fear generates suspicion among people in power that workers are trying to manipulate their images because they’re afraid.'"

goal: fail miserably

I'm not sure if it's absolutely necessary to set out to fail, but at the very least, you need to be willing to land in the mud every once in awhile.

As Seth Godin points out, "Think about how often your goal at a conference or a meeting or in a project is, 'don't screw up!' or 'don't make a fool of yourself and say the wrong thing.' These are very easy goals to achieve, of course. Just do as little as possible. The problem is that they sabotage your real goals, the achievement ones."

If you're satisfied with mediocrity, then do just that: set yourself to achieve safe goals like avoiding embarrassment. But if you want for yourself even something slightly better, don't be afraid to stick your neck out, doing whatever it is. This advice isn't anything new. You may have heard...

"Shoot for the moon. Even if you miss, you'll lad among the stars."

"Believe and act as if it were impossible to fail."

"Success comes to those who are neither afraid to fail nor discouraged by failures."

job hunting? watch your attitude

If you've been looking for work and feel like you've been getting nowhere, you might want to reevaluate your approach. The Guardian has done some research and discovered there are some key differences between "aces" – those who find work within four months of beginning their search – and the rest of us, "chasers". To ensure you're in the first category, the newspaper recommends adopting these seven strategies for finding work more quickly:

1. Think more positively. Your attitude – whether you're optimistic and can visualize yourself in a job, or negative and desperate – will likely come across in your cover letters and interviews. Make sure you're broadcasting the right message.

2. Be more proactive. Research your prospective employer thoroughly and ask questions – it will show you have a genuine interest in the position.

3. Milk your friends and family for contacts. Network, network, network. You don't know when, where or from whom you'll hear about your dream job.

4. Speculate.Look for jobs beyond the employment listings and send applications to companies, even when they aren't advertising positions.

5. Be decisive. Know who you want to work for.

6. Do more. It comes down to odds: apply for more jobs and you have a higher chance of finding work.

7. Embrace the digital age. Use LinkedIn, Facebook, Myspace, Twitter and blogs to research prospects and to advertise your goals and talents.

assignment letters past and present

When I was cleaning out my desk and trashing files from my computer as I prepared to leave Style at Home, I was faced with the decision of what to keep. Perhaps because I have aspirations to teach a magazine course or two one day, I like to keep copies of some of my better assignment and fix letters – they might come in handy as examples in the future. Or perhaps, after I become a world-famous ;) editor, they'll be published in a biography of me a la Harold Ross (read an excerpt of Letters From the Editor). (Grand aspirations, eh?)

There's another reason to keep a selection of your editing correspondence, though. On her blog, one-time Chatelaine editor Rona Maynard writes of how she's grateful to have had the chance to read an assignment letter she wrote to Antonia Zerbisias back in 1979.

I had taken great pride in the letters I composed back then. I used to see myself as the Max Perkins of fashion magazines for the under-35 set. Yet I hadn't thought to save even one of those letters. That Antonia had (along with the entire dossier) seemed almost too good to be true. And so, within hours, I was face-to-face again with my young self, and hers.

Rona also mentions how assignment letter writing has changed:

These days few editors bother with detailed assignment letters. Instead they send contracts designed by corporate masters to head off expensive copyright disputes. When I sit down to write a magazine piece and review the marching orders, they're just that: length, deadline, a few terse lines of summary. I rarely feel that I'm engaging with a sympathetic reader who understands the power of the word. We've entered an era in which many young writers have never experienced the surge of motivation that an editor's letter can unleash.

And I wonder, has it changed so much? I certainly have seen and even written these short, perfunctory assignment notes, but only when working with writers who I've worked with before, and on stories of the type they've written before, when writing it all out really just seems redundant. But in general, have we become lazy – do we dash off assignment letters with little care?

will tweet for work

If you use Twitter, you might want to consider it as part of your networking strategy. On his blog Scobleizer, Robert Scoble offers some tips on how to utilize Twitter, Facebook and blogs in your job hunt. Here's a taste:

• Your blog is your resume. You need one and it needs to have 100 posts on it about what you want to be known for.

• Remove all friends from your facebook and twitter accounts that will embarrass you.

• Demonstrate you have kids and hobbies, but they should be 1% of your public persona, not 99%.

• Post something that teaches me something about what you want to do every day. If you want to drive a cab, you better go out and take pictures of cabs. Think about cabs. Put suggestions for cabbies up. Interview cabbies. You better have a blog that is nothing but cabs. Cabs. Cabs. Cabs all the time.

• On Twitter you can tell me what you had for lunch, but only after you posted 20 great items about what you want to do.

Hat tip to David Hayes.

a few words on business cards

I'm not sure if I've said this before, but you should always have business cards, even if you don't currently have a job. Trying to network without one is unprofessional (scribbling your number on a piece of paper – yuck), so I recommend getting a small batch of personal ones printed up, which doesn't have to be very expensive.

When you design yours, consider leaving off your "job title." I was handed a business card the other day that had just the fellow's name and contact info on it, like an old-style calling card. (No, the one shown here is not the one I was given.) I appreciated that there was no clunky description like writer/editor. This solution is particularly useful for those who wear many hats, like maybe you moonlight as a DJ.

dream job found

To escape the cold, I'd give up magazines for a job like this:

Tourism Queensland is seeking applicants for the best job in the world! The role of Island Caretaker is a six-month contract, based on luxurious Hamilton Island in the Great Barrier Reef. It’s a live-in position with flexible working hours and key responsibilities include exploring the islands of the Great Barrier Reef to discover what the area has to offer. You’ll be required to report back on your adventures to Tourism Queensland headquarters in Brisbane (and the rest of the world) via weekly blogs, photo diary, video updates and ongoing media interviews.

Other job duties include feeding the fish, cleaning the pool and collecting the mail. Salary is AUD $150,000 (approximately $124,200 CAD) for the six-month contract, plus return airfares, accommodation and transport on Hamilton Island, plus travel to other Islands of the Great Barrier Reef.

Competition is fierce, though. Reuters reported that there's been so much interest in the position worldwide, the site advertising the job couldn't handle the traffic and crashed.

to be or not to be: specialist vs jack of all trades

A reader on PoyterOnline's Ask the Recruiter wondering about the pros and cons of specializing in one area got me thinking about developing your niche.

Eventually, most editors and writers develop their own specialty, whether it be a preferred topic or format (say service or profile pieces). On one hand, it's terribly important to be adaptable, especially at times like these when jobs seem more scarce – the more you can do, the more options you have. But the flip side is that becoming an expert at something can make you extremely desirable for jobs requiring those skills and knowledge, which could give you the edge over any competition.

The solution is to find a balance: develop a niche that you're passionate about. You'll become a sought-after expert while doing something that stokes your fire. Meanwhile, make sure that the skills you acquire while building your knowledge are ones that are transferable. For example, fashion may be your love, but mastering the art of writing those short, snappy pieces of copy describing product (how many ways are there to say stylish?) will serve you in most women's and service mags.

let readers in behind the scenes

People love behind-the-scenes exposés, so why not give your readers the inside track on how your magazine gets put together. Have the editor-in-chief or even an editorial assistant or intern reveal some of the ins and outs of daily life at a magazine through a blog. It's a good way to build your brand and the personality of the staff, and connect directly with readers. Here are some magazine blogs (some good, some not-so-good) that at least in part actually talk about putting out the magazine, and not just about products related to their content:

• Shape-ing Up With Jenna (Shape)

• The Fashionable Life (Fashion)

• Real Living (Real Living)

• Eye blog (Eye), see posts here and here.

• The Flare Intern Blog (Flare; not recently updated)

• Storyboard (Wired)

Suggest your faves in the comments.

from internet to print

With the exodus of print to online, it's nice to see an interesting twist on the movement. As posted on magCulture, duo Ben Terrett and Russell Davies have taken a selection of blog posts and Twitter feeds and published them as a tabloid newsprint publication to beautiful effect. Surely it's not a viable commercial solution, but the creative thinking about form is possibly the type of thinking that could stave off the end of print (if you in fact believe the end is nigh). Print is not the internet and the internet is not print. Put in the effort to make print enjoyable, to make it an experience unlike another, and readers will stick around.

strategies for holding on to your job

The most recent ezine of The Creative Group features two articles on what you can do to remain a valuable employee.

are you sabotaging your career?
Though not every question is relevant, this quiz will help you figure out if your reaction to certain work situations is keeping you from getting ahead. Can you do a better job of preparing for your performance review, do you recognize and seize opportunities, how do you handle hostile coworkers?

how to manage an increased workload
Magazines have been doing more with less long before the economy hit the skids. To stay sane when your boss piles on more work, try some of these strategies, like learn more details about the project, prioritize and ask for help.

creative resumés

One of the big challenges with a resumé is how to make it stand out, and one way to do this is to get creative. One friend of mine replaced standard headings like "work experience" with "what I've done" and "education" with "what I know." I've seen one resumé done in the form of a magazine. And then there's this Facebook-style resumé posted on Steve Pratt's blog.

Of course, it's always a good idea to exercise caution when getting creative with your resumé. Think long and hard about whether your plan is appropriate to the job you're applying for – you don't want the recipient to be creeped out or think you're crazy. And unusual resumés can reek of effort. But have courage: if yours is in sync with the publication, its content and its voice, as well as relevant to the position, then you could make a lasting impression.

staying in vogue

An interesting article in the New York Times posits that Vogue is quickly becoming irrelevant.

Vogue has become stale and predictable, and it has happened in spite of some of the best editors, writers and photographers in the business. And it has happened in spite of a leader [Anna Wintour] who “only cares what readers care about,” according to a long-time staff member.

The article outlines some of the magazine's strengths:

For all the fantasy in Vogue, especially the fairy-tale kind produced by Grace Coddington, the creative director, and Annie Leibovitz, the magazine is actually quite serious. There are things to read, long pieces, from writers with distinct voices: Julia Reed on politics, Jeffrey Steingarten on food, Sarah Mower on the Paris collections.

And unlike many of her rivals, Ms. Wintour, who declined to be interviewed for this article, has largely resisted the pressure to break down content to lists and small bites. Though this faster, drive-thru approach to editorial consumption may be what more people want.

According to a writer at Condé Nast, who requested anonymity because he works at a sister publication, “Anna’s two great talents are that she understands her readers and she speaks with this incredible authority to advertisers.” Indeed, as the writer points out, Condé Nast, having monopolized high-end magazines, has a rather odd relationship with luxury advertisers — which is that these advertisers cannot afford to go somewhere else, bad economy or not. Luxury brands haven’t yet found a formula for success in digital media. Their relationship, then, with Condé Nast creates an “interesting ecology,” as the writer put it. “They keep each other in business.”

Some of Vogue's weaknesses:

Yet, in 2008, Vogue’s ad pages were down 9.6 percent, Mediaweek said, compared with an average 8 percent decline for other fashion magazines. Rivals like Elle and Harper’s Bazaar, which have adopted a pell-mell style that encourages value-for-money nibbling, have fared better. The very qualities that set Vogue apart — consummate fashion judgment, a comfortableness with ideas in the shallow pool of celebrity and weight-loss articles — now seem to be narrowing its view, like an aperture shutting down.

There are too many stories about socialites — or, at any rate, too few such stories that sufficiently demonstrate why we should care about these creatures. What once felt like a jolly skip through Bergdorf now feels like an intravenous feed. To read Vogue in recent years is to wonder about the peculiar fascination for the “villa in Tuscany” story. Ditto staff-member accounts of spa treatments and haircuts.

The article continues:

To ask what works in Vogue is in a sense to ask the same of all fashion magazines. Many do not seem to know how to relate to women in their 20s, except to throw celebrity pictures and clothes at them. Although the median age of its readers has hovered around 34 since Ms. Wintour became editor, in 1988, you don’t feel that the magazine has considered how changes like social networks and Web-based subcultures have influenced women’s ideas about themselves. This lack of awareness is reflected in Vogue’s pages.

The piece concludes with a few reasons why it would be hard to replace Wintour (as rumours late last year suggested), including this strength:

Editors of Ms. Wintour’s generation, like the designers they champion and the photographers they protect, have a depth of knowledge not easily reproduced.

merry christmas!

Have a wonderful holiday.

Dream Job TK will return in the new year.

(re)writing better copy

This is from a post on Seth Godin's blog – an inner dialog on improving signage for a coffee brand, which reads "Unlike Any Coffee You've Ever Tasted Before.":

Wait. Why the capitals?

"Unlike any coffee you've ever tasted before."

"Before" is redundant.

"Unlike any coffee you've ever tasted."

Too negative. And why is "unlike" a positive trait? I mean, boiled leech guts is also unlike any coffee I've ever tasted, that doesn't mean I want to drink it. How about:

"The best coffee you've ever tasted."

Well, the thing is, the only coffee that matters is coffee I've tasted, right, so we could get shorter still:

"The best coffee."

The problem with that is that it's nothing but bragging. Of course you think it's the best coffee. So what? You're lying. And even if you're not lying, how do you know it's the best? Compared to what?

This is where the smart copywriter becomes a marketer.

"Better than Starbucks."

Well, it's still bragging. This is the moment where the marketer becomes a smart marketer and realizes that changing the offer or the product is more important than changing the hype.

"FREE TASTE TEST
Are we better than Starbucks?"

now's a good time to start paying interns

Back when I was in university, between my second and third years, I got myself a summer job working for a small theatre company. I can't remember my job title, but I did some administrative work and lots of marketing-type tasks, like compiling media lists and writing press releases. It was a great experience, and one I wouldn't have had without the help of the government. You see, the theatre received money from the government as part of a youth work program to cover a portion of my salary, meaning they were actually able to afford to hire someone.

I always wondered whether there was a similar program that publishers could take advantage of so they could offer paid magazine internships, and now I know that there is. As reported on the Canadian Magazines blog, the Cultural Human Resources Council runs a Youth Internship Program, and will pay up to $10,000 towards the salary for an internship running from four to 12 months.

With the prevalence of layoffs and hiring freezes, you may be wondering what's the likelihood that magazines are going to start paying their interns. But what if we look at it this way: With fewer people doing more work, interns are going to start taking on more duties of entry-level positions (if they're not already doing tasks that most editorial assistants would do). If you can't afford to hire the EA you so desperately need, why not pay half as much for an intern? When the economy begins to pick up and you can afford to hire more staff, you'll already have that cost on your books, which you can continue pay out as a half-decent stipend for an intern even if you're no longer a participant in the government program.

words of wisdom from designer chris pullman

At his retirement party back in October, Vice President for Design of public broadcaster WGBH Boston Chris Pullman shared a few thoughts on what he's learned over the years, from Design Observer.

"Work on things that matter. ... Given all the ways you could use your skills and your valuable time, pick something that serves the greater good."

"Work with people you like and respect. ... Since April, when I first announced my intention to leave WGBH, the private expression of these feelings has been so gratifying, both personally and professionally, that I recently suggested that maybe we should institute the policy of encouraging individuals to make periodic “mock retirement” announcements, with the goal of releasing more regularly the flow of kind remarks for the nourishment of the individual, since we are otherwise so reticent to praise or encourage others in our busy, self-centered daily lives."

"Be nice. And be positive. And be respectful of the work of others. Strive to understand each others professional contributions and then respect them (as you would want them to respect you) with your actions and your comments. Remember: we are all applying our own particular skills towards a shared objective."

"Have high standards. Don’t settle for “whatever.” The corrosive Dilbert mind-set is depressing and demeaning. Wherever you choose to work, don’t give it a foothold. I prefer the “see you and raise you one” escalation of good ideas, even crazy ideas."

mistakes are ok

I'm sure you've heard someone somewhere along the line say that making mistakes is all part of the learning process. It's definitely true, but that doesn't necessarily make it any easier to own up to them. Perhaps you can let the little ones slip by or quickly correct them without notice, but I say the bigger the mistake, the more important it is to take responsibility. Confess quickly and do it right by turning it into a learning experience for everyone. From an article on the Guardian website:

Chartered occupational psychologist Dr Peter Honey thinks the key is to try and shift the focus from blaming people to blaming processes.

Honey says that mistakes are often the fault of processes rather than people involved, and offers a three-point plan for making sure you learn from them. Firstly, there needs to be an honest assessment of the whole situation. Next, you need to tease out some lessons – could you improve any processes so that this cannot happen again? Lastly, work out how, specifically, you would implement the lessons learned, so they're not just left as good intentions, says Honey.

spreading holiday cheer

Mailing (or emailing) Christmas cards this year? Why not add a few more people to the list, like your ex-boss, your mentor, or anyone else in your network of magazine peeps. Sending holiday greetings is a great way to keep in touch and say hi – a friendly way to say, "I enjoy knowing and working with you, and thank you for any help you've provided over the year."

brand you

Here's are a few tips on building your personal brand and making yourself invaluable so your name doesn't become one on the layoff roster. For specifics on how to use social media to do this, read Dan Schawbel's full article on Mashable.

• The first people who get laid off are the ones that are not needed for business to be conducted. If the business depends on your services and expertise, then you will, more than likely, remain in your current position, despite the economic climate.

• When it comes to branding, you want to own a word or phrase in the minds of others. It’s also beneficial to be someone that gets called upon when a specific need arises.

• Those who are confident in their own abilities, skills, internal network and the future, will survive and thrive during a period of economic struggle. If you see an opportunity, go and grab it. You need to be branded as a go-getter so people trust you with more work and are assured of the outcome.

• If you have a loud enough voice and take a stand on a topic, you can be a brand that is spoken about by people you may not even know. These individuals might actually be able to pull you into a new opportunity at some point.

• Collect endorsements throughout your life like you would collect baseball cards. You are the chief marketing officer for the brand called you, but what others say about your brand is more impactful than what you say about yourself.

do you know what your coworkers do for a living?

Seems like a silly question, doesn't it? I was reading a post on Eye magazine's blog, which gives a behind-the-scenes look at the printing of an issue. On MagCulture.com, Jeremy Leslie commented that it was a good reminder that everyone in a magazine art department familiarize themselves with the process, and it made me think that it would benefit a magazine's entire staff to see it.

You may have been lucky enough (or unlucky, if you didn't enjoy yourself) at some point to visit a printing press. Even if you get the concept, nothing compares to seeing the live-action version of printing. You begin to understand the physical limitations of the medium.

Likewise, I think it's a good idea if everyone gets to know what people in other departments do. Not just "I'm an assistant editor" or "I'm an associate art director," but what are each person's actual duties? What's the process of getting a story, a layout, done from start to finish? What are the steps?

There are a few ways to teach this. Perhaps a presentation by each department. Or maybe a day of job shadowing. I think it would give everyone a new found respect for what everyone else does. When you know what's involved, you understand why things are done the way they are and why they take the time that they do.

the art of the rejection letter

Writing a rejection letter in response to a pitch is rarely a pleasant experience. As Jean Hannah Edelstein says in a post on the Guardian's Books Blog, "[I]t is not easy to achieve and balance the two central goals of a truly accomplished rejection letter: trying not to make the writer feel distraught whilst also discouraging him or her from ever contacting you ever again."

Edelstien's comments come in response to the call for submissions of rejection letters for a new book, "Other People's Rejection Letters"(perhaps you have your own to contribute). While Edelstein points out that the purpose of the book is likely to provide comfort to rejectees (of every sort, not just writers), it has potential to be an excellent teaching tool for editors. I suspect it will be filled with the most crass, ill-thought-out letters out there, essentially making it a what-not-to-do guide.

I'm curious, though: rejection letters were never covered in any of my schooling; have you ever been coached on how to craft one?

gladwell on success

Maybe success has less to do with talent than we think.

Last night I had the opportunity to see superstar author Malcolm Gladwell speak as part of the Rotman Integrative Thinking Experts Speaker Series. (How does one become a Thinking Expert, I wonder?) Gladwell is making the rounds to promote his latest book, Outliers, which explores the idea that things beyond your control, such as your birth date, may greatly influence whether or not you're successful (and we're not talking astrology).

A few ideas that came up during his talk that I thought I'd share:

Some disadvantages are actually advantages. Gladwell named a few of the top-performing NFL players, pointing out that most of them were not the top draft picks. Because the players were lower down on the wanted list, they were more inclined to work harder to prove themselves. Meanwhile, you get first-round picks skipping out on practice. So in the world of magazines, might we say that a smaller budget is a disadvantage that's actually an advantage? If we use awards as a yardstick, the smalls measure up pretty well.

There are two approaches to success: Capitalize on your strengths or compensate for your weaknesses. I say do both. The key here is to know what you're good at and what you're not so good at. Then work like the dickens to improve where you're weak, and don't neglect to market your strengths.

Being conscientious can lead to being successful. "You have to believe the application of effort gets you somewhere," said Gladwell, pointing out that this belief is lacking in Western cultures (many of us learn at a young age that working harder doesn't necessarily mean higher marks). I say, be conscientious and you'll stand out beyond 90 percent of the workforce.

It takes 10,000 hours of doing something to master it. Gladwell cites the concept that the top "geniuses" – artistic, business or otherwise – in the world have one very important thing in common: they've all spent about 10,000 hours practicing their craft. He talked about spending many years at the Washington Post as a reporter and the intense apprenticeship he went through as a writer. Writing nearly an article every day, he had the opportunity to hone his skill. But it wasn't just the time he put in: he also had the benefit of a slew of senior editors pushing him to do better work, teaching him how to become a better writer. And I couldn't help but think, are we missing this apprenticeship relationship in our field? Do we spend enough time teaching the young up-and-comers? Do we demand enough of them?

And finally, bon mots of the day: "Google is eroding the competitive advantage of those of us who are willing to go to the library."

More Malcolm:
• Talking about Fleetwood Mac at Gain: AIGA Business and Design Conference (Oct. 23–25, 2008).
• A feature on Gladwell in New York magazine (Nov. 9, 2008).
• Malcolm Gladwell's blog.

crowd critique: toronto life

So, it would seem many of us magazine types have a love-hate relationship with Toronto Life. It wins many awards and (admit it) a lot of you would want to work there (if only to have the name on your resumé). Yet, I've heard and read many negative things about the publication – the most recent, a comment on my post about how to come up with great ideas. An anonymous commentator said

Toronto Life isn't usually associated with smart ideas... its voice is certainly bratty enough that Toronto Life must think itself sharp... its "genius" doesn't usually surpass Spy magazine ol' schtick, and that got tired fast 20 years ago. The "new" Toronto Life believes its youth in leau of experience is the dawn of brilliance, whereas the magazine isn't breaking ground anywhere new and keeps crashing with aloof mistakes in both the editorial and art departments.

I debated not publishing the comment because it seems a tad bitter and doesn't back up its claims, but to each their own opinion, right?

I've heard the "it's skewing young" argument a few times now (which I know Sarah Fulford disagrees with), but shouldn't that be considered a good-ish thing? The complaint I heard most often about the John Macfarlane version of the mag was that it was too old-money, old-establishment Toronto.

So, this is my invitation to all of you to weigh in – let's get a conversation going about what makes Toronto Life a good and a not-so-good magazine. What works; what doesn't work? Don't be shy! (Please keep it civil, though.) If this "crowd critique" is successful, I just might make it a regular feature of this blog, because I think we can all learn a lot about how to be better editors by critiquing the magazines we read. Let the debating begin!

[Be sure to check the comments both on Masthead's site and at Dream Job TK's home base.]

in defence of small talk

Do you ever find yourself rolling your eyes at the necessity of inane chitchat? Does anyone really care what their co-workers did on the weekend? Does anyone really want to discuss the negative impact cold weather is having on your day with that PR rep? Ok, it's not all bad, and there's certainly a good reason for making small talk. An article on the Guardian website reminds us that without it, work mightn't be as pleasant.

Small talk with colleagues might make you feel like the office-equivalent of a cow, just blankly chewing on the same old cud over and over, but what, I ask, would you rather do? Just launch straight in with the purpose of your call with no initial niceties whatsoever? Face it, there are people who do that already, and they're the ones you think are really weird.

These little observations we make to each other on the phone, on email, or even in person, may be petty and inane, but in their own shy way they are rather lovely. You're essentially saying to whoever it may be that, despite the fact you don't know each other and never will, you are willing to spend a few moments talking pointlessly at one another to indicate that you regard each other as more than just another obstacle to be surmounted in your separate scrabbles for professional advancement.

the interview show, starring you!

In a job interview

One approach is to be reactive, to sit where you're supposed to sit, have your resume appear just so, wear what you're supposed to wear and answer each and every question in the safe and secure way.

The other approach is to put on a show. To be in charge, to lead.

- Seth Godin, posted on Seth Godin's blog

[Thanks to Kat Tancock.]

coming up with great ideas

I'd like to go back to something that came up at the Ed2010 Toronto's Sarah Fulford talk. She mentioned the importance of being able to come up with good ideas, that having a knack for this would make you a valuable employee. And one audience member asked whether this was a talent a person could develop – how do you become good at thinking up good ideas?

In response, Sarah talked about being critical and developing a sense of what makes for a great magazine piece. To do this, she recommended reading and really dissecting stories, figuring out what contributed to making them successful: The writing – how was it written? The packaging – what made it work? Why do you suppose the editors and art directors made the decisions they did? Familiarizing yourself with every aspect that makes up excellent work will provide you with the knowledge to do excellent work yourself.

Likewise, familiarizing yourself with the world will arm you with the fodder for great ideas. In an interview with Advertising Age published back in October, superstar art director George Lois (famous for his Esquire magazine covers) talks about, among other things, his book George Lois on his Creation of the Big Idea, in which he reveals the influences behind some of his best work. In the video, he explains that you have to expand your knowledge, expand your passion and expand your experiences in order to open you mind to making connections and giving it the base on which to build great ideas.

"[A great idea] is not a lightning bolt out of the blue. ... What it is, is an understanding of 5,000 years of art, an understanding of 5,000 years of human civilization, understanding of film, understanding of great movies, understanding of comics, understanding ballet – having that kind of well roundedness. ... It didn't come out of the blue; it came out of my experience."

And I think he's absolutely right. Consume everything. Everything. Read not only your competitors' magazines, but magazines on every topic. Read lots of books. Go to museums. Watch lots of films. Learn piano or skateboarding. Go scuba diving. Just consume – consume ideas, consume experiences. The more you know, the more you'll be able to draw from all those different aspects to pull together things that others may not have thought of, mainly because they don't have the same knowledge or experience that you do.

reader's question: how do I find a mentor?

Q. I noticed in one of your blog entries that Sarah Fulford recommends finding a mentor. How does one find, then approach a mentor? Especially if that person is not a friend, a friend of a friend, or in the industry one currently works. Sarah was fortunate to have John Macfarlane. What advice, then, for the rest of us?

A. First, don't be so quick to dismiss those who are around you. Colleagues and supervisors, both former and current, can be great mentors. Keep your eyes open and really think about the people you know – they needn't be "celebrity" editors; you just need to respect and admire something about them, and feel like there's something they can teach you.

Inc.com has put together a collection of past stories and tips on the mentoring relationship. Most are business related, but here are a selection of tips that I think are applicable:

• Consciously think about where you are in your career, and where you would like to be. Honestly assess what type of personality you have, and which personality types complement your style. Consider your strengths and weaknesses, and define how a mentor might guide you through your growth.

• Keep an open mind regarding who this person might be: A mentor is someone who will help you grow in the area(s) most important to you. This person is not necessarily your supervisor, or anyone with a high-ranking title, or even someone in the same business. Look for someone who exemplifies the traits and skills that you want to adopt.

• Good sources of mentors include your management team, industry associations, online communities, your clergy and/or congregation, and professors. Also consider people in your non-workplace communities, such as retirees, local business owners, and people associated with your hobbies. (Note: Some personal coaches advise against choosing your supervisor as a mentor because of a possible conflict of interest.)

• [P]utting all your mentor eggs in one basket can be a mistake. "I think people really ought to think in terms of multiple mentors instead of just one," concludes [Kathy] Kram, the author of Mentoring at Work.

• [H]ow do you persuade him or her to sign on to your cause? Would-be mentors are most receptive to people who ask good questions, listen well to the responses and demonstrate that they are hungry for advice and counsel, Kram says.

• You need someone to give you very realistic, appropriate, frank, personal feedback -- someone who has the same perspective, someone whose experiences you can learn from so you don't have to do everything the hard way -- and you don't always have to make the same mistakes. [Dan Caulfield, CEO of HQ Group, in Oceanside, Calif.]

after the layoffs: looking for work

I ran into a couple of editors from Wish yesterday. Since the magazine's closure, they and their colleagues are facing the reality of unemployment. It's a scary thing, and an experience that I just cross my fingers and pray doesn't happen to me one day. Although reality is, all of us are likely to lose a job at some point in our careers, for whatever reason.

And what happens when we do? Hit the pavement. But is the same-old approach of contacting your network and sending out resumés still going to work? David Meerman Scott argues "not so" on his blog Web Ink Now.

He suggests beefing up your online presence with a blog, a Twitter feed or online videos featuring your expertise.

Create information that people want. Create an online presence that people are eager to consume. Establish a virtual front door that people will happily link to. And one that employers will find.

I'm a good example of this concept at work: my new boss asked me to come in for an interview in part because she liked what she saw on this blog. Unlike my resumé or clippings, Dream Job TK is a good representation of my viewpoints and work ethic and demonstrates my passion for the magazine industry. I'm not suggesting everyone go out and start a career advice blog (I don't need the competition), but consider what you're good at – delectable food writing, understanding the nuances of copy editing, or any other niche – and build something around that.

But even as I agree that putting yourself out there is important, just writing a blog or an ebook and sitting back to await the knock at your door isn't going to do it. You also have to work your network. If you've taken the time to nurture it when you're not in dire straits, you will not be that annoying person Meerman Scott talks about:

It seems like every day I learn of another person who is on the job market. Usually that's because when they need a job, all of a sudden people jump into "networking mode" and I hear from them after years of silence.

Stay in touch with people and you'll be surprised at how helpful they can be in your time of need.

[Thanks to Kat Tancock for sending me the link.]

the virtue of being organized

I start a new job this morning (see my bio for details, if you're curious), which means last week I was busy wrapping things up at my old job. And I'm making not a New Year's resolution but a new-job resolution: be more organized.

As organized as I am (I colour code my assignment letters), I've always been horrible at managing my address book. In fact, I rarely even enter contacts into it – I let autofill or a search for the last email from someone yield the info I'm looking for. The problem with doing it this way is that when your email account is scheduled to become defunct imminently, you're stuck trying to build your address book from scratch by going through all your past correspondence. A nightmare, I assure you. Because I also have the bad habit of not deleting old emails. I had thousands to go through. So that's part of my resolution, too – delete and file emails as I read them.

Anyway, back to the address book. The reason why I bring this up is because, in magazines – well, in any industry – who you know is important, and your contact list can be one of your greatest assets. Knowing who to call to get a certain job done (say, a writer in Winnipeg for a feature on the city) and being able to reach them makes you a valuable employee. Likewise, it benefits you to have someone whom you can call to sniff out possible openings at a company. So, if your address book isn't up to date, make a resolution with me to get on top of it.

"it's a great opportunity": working for free

Everyone at some point in their magazine career, and especially those just starting out, will be asked to do editing or writing work for free. It seems to be the nature of creative industries that because it's hard to quantify their value, people have no qualms about asking to have work done without paying for it.

I know a well-established artist and illustrator who, many years ago, did some work to appear on a concert t-shirt of a superstar world-famous band (i.e. they're filthy rich). When the subject of payment came up, the band's rep said the artist should be willing to do the work for free since it was an incredible opportunity, great exposure and a great honour to do work for said band. They could afford to pay so the artist dug in her heels and demanded a fee, which she got.

There are, however, times when working for free is ok. In a guest post on New York Times' Shifting Careers blog, veteran freelancer Michelle Goodman writes

[C]onsider when giving it up for nothing can work in your favor:

You have no clients or portfolio. If you left your staff position without any customer testimonials or work samples, you may have to do a freebie or three for a worthy small business to prove to paying clients that you’ve done this before. Pick short-term projects (several days, tops) so you’re not stuck working pro bono until the next decade.

Your dream client has shallow pockets. Writers, artists and performers are all too familiar with this phenomenon. Example: The indie magazine that barely pays its freelancers but, thanks to the power of PIE [Paid in Exposure], has landed many of them agents, book deals and art shows. For business consultants, speaking at a highly publicized conference might yield similar results, in the form of new clients and paid speaking gigs. Be sure to build such unpaid work into your annual promotional plan (which can be all of two paragraphs) so you don’t give away too much time each year.

You’re donating time to a worthy cause. When donating your services to your favorite nonprofit or charity, my motto is, “Give big.” Think high-profile auctions, galas and fund-raising marathons; the more PIE potential, the better. Although you’re doing the job gratis, send the client a short, informal contract clearly stating what you will and won’t do, and when.

Goodman also lays out when to avoid unpaid work, citing payment schemes like "credit for your work" and being paid on spec as red flags.

[Thanks to David Hayes of TFEW for drawing attention to this.]

letter writing and the job hunt

In the process of looking for, applying to and interviewing for a job, you might find that you have to write more than just a resumé and cover letter. The Possibilities website rounds up a list of resources and advice on professional correspondence you might want to be prepared for, including the thank-you letter, the counter-proposal letter and the declining-a-job-offer letter.

sarah fulford on getting your dream job and being a good editor

Thanks to everyone who made it out last night to hear Sarah Fulford, editor-in-chief of Toronto Life, as part of Ed2010 Toronto's speaker series. For the rest of you, here's a taste of what you missed out on:

All editors need to write at some point in their career in order to exercise their "empathy muscle" says Sarah. To get a good idea of what writers go through on a piece, you need to experience it yourself, because the better you understand what a writer needs, the better an editor you can be.

Have a mentor. Or many, many mentors. Sarah surrounded herself with people she could learn from, and especially recommends newbie editors key in changes and read notes made by more experienced editors on stories. You'll get a sense of how their minds work and what they look for.

The most attractive qualities in an applicant (even more important than experience): Passion, enthusiasm and commitment. And you have to have good ideas. Lots of them.

Two questions you must know the answers to when you go into a job interview: What are your favourite magazines? What would you do to make [magazine you're applying to] better?

event: CSME luncheon on rights & rates for freelancers

Also next week, Nov. 12, CSME presents a panel discussion on the rights of freelancers:

CSME’s panel will discuss issues freelancers and editors face today, and what we, as editors, can do to keep magazine writing vibrant. Derek Finkle will discuss his recently founded Canadian Writers Group, which intends to advocate on behalf of freelance writers. We’ll ask all of our panelists to discuss the editor-freelancer relationship, particularly how to keep it mutually beneficial.

In addition to Derek Finkle, panelists include Kim Pittaway and John Macfarlane. 12-1:30pm, $30 members/ $50 non, P.J. O'Brien's, 39 Colborne St., RSVP admin@canadianeditors.com.

sarah fulford at ryerson

Toronto Life editor-in-chief Sarah Fulford, who speaks tonight as part of Ed2010 Toronto's speaker series, is also doing a talk next week, Nov. 11, at Ryerson University. Titled "In Defense of Magazines: Why they Matter in the Digital Age," the presentation will cover why magazines are doing ok while newspapers are struggling. Open to the public, admission is free, more details here.

reader's question: no one is responding to my request for an informational interview – what do I do?

Q.I have emailed several people at one publication to ask for informational interviews and have been pretty much ignored. I just emailed, explained my loose connection and asked for a brief meeting to explore job possibilities. Should I take this as a sign not to approach people at this company in this way, or persevere and try to set up interviews with other people at the company?


A. I wouldn't take it as a sign that the whole company is against offering informational interviews, but you might want to revise your approach a little.

First, when you say you asked to meet and discuss job possibilities, it's possible they think you're looking for a job at that magazine right now. If there are no openings or the people you've contacted aren't involved in hiring, they may have just disregarded your email. You have to make it very clear that you're not looking for a job interview. For tips on this, check out my post from last week about the purpose of an informational interview.

Second, be more strategic about whom you contact. Instead of emailing everyone on staff, start with one person. If they can't help you, ask them who they would recommend you speak to, do the same with the next person, and so on. Editors talk to each other, and if they figure out that you're trying to contact them all, it can create the wrong impression – you might come across as desperate or unknowing of the staff structure of a magazine (i.e. you don't know how things work).

Also, you don't necessarily need to keep your focus so narrow: if you're interested in finding out more about a particular company, you can talk to an editor at any of that publisher's magazines, not just the magazine you're interested in working for. And if you'd like to work for a particular type of magazine, say a fashion mag, try all the major titles in that category, not just the one you want to work at.

Finally, when it comes down to the actual process of making contact, this is what I recommend: Email your request. A week later, follow up with another email asking if the person received the first one. In both, acknowledge that you understand s/he is very busy. The following week, follow up with a phone call; don't leave a message – try to get the editor in person – unless you've tried several times and it's clear s/he just doesn't pick up the phone. The best times to call are usually first thing in the morning before editors get wrapped up in things, and sometimes just after 5:00 – many editors work late, and at that time, interruptions (like calls from PR people) have virtually stopped.

reader's question: how do I list more than one position at the same magazine on my resumé?

Q. I've held three different positions at the same magazine; on my resumé, should I list them all separately, including duties and achievements for each, or lump them together under one entry?

A. The majority of advice out there recommends listing your positions under one heading, focusing on your most recent accomplishments. List your overall time at the magazine, then list the dates for when you held each position, like this

2004-present Magazine A, Big Three Publishing Inc., Toronto

Associate Editor, 2007-present
Assistant Editor, 2005-2007
Editorial Assistant, 2004-2005

Then list all your achievements, highlighting those most recent and relevant to the job you're applying to. If you regularly went beyond the expectations of the more junior positions, you can draw attention to this by listing achievements separately under each job title.

The benefit of listing your positions under one heading is that it shows longevity, that your skills develop over time and a minor but important detail, it doesn't look like you're trying to pad out your resumé, as it might if you listed each position separately. And, as the website Best Resume Writing points out, it avoids making the impression that you're a job hopper, instead showing that you're a loyal employee.

The exception to this rule, though, would be if the positions you held were quite different and not necessarily a natural progression from one to the next. I'll use my own resumé as an example: At one magazine, I progressed from freelance copy editor to full-time, to copy chief over a couple of years – these positions are listed as one item, with a focus on the most recent. At my current magazine, I've held the positions of copy editor and senior editor – these are listed separately.

the purpose of an informational interview

Setting up an informational interview with an editor is a great way to learn more about the magazine industry, find out what jobs you're qualified for and what further training you may need, and to make contacts. But how do you set one up, and what do you do once you're in the meeting? Here are a few resources:

• University of British Columbia Career Services
• iSeek
• U.S. Department of Labor
• Quintessential Careers

I'd also like to add a few of my own thoughts:

• Don't forget: an information meeting is not a job interview! The main purpose is for you to ask someone more experienced in the business any questions you may have about the industry and what you can do to make it as an editor.
• Be prepared with questions, as you are interviewing him/her. S/he is not interviewing you.
• Be considerate: Show up on time, don't take up too much of his/her time, and send a thank you note afterwards.
• Stay in touch. Send an update on your progress in the job hunt if you've landed a sweet gig, share an article you wrote that's been published, or just send a Christmas card. Be sure to thank him/her again for the advice.

ed2010 toronto presents Sarah Fulford

Coming up next month, Ed2010 Toronto presents the next installment in its Speaker Series, featuring Sarah Fulford. The newly minted editor of award-winning city magazine Toronto Life – who at 34 is the youngest editor to hold one of the top media jobs in the country – will share her advice on how to land your dream job. Sarah's brief talk will be followed by a Q&A period. Shy? Send Ed your questions for Sarah in advance: toronto [at]ed2010 [dot]com

Where: Deer Park Library at 40 St. Clair Ave. East (Located one block east of Yonge St. on the north side of St. Clair Ave.)
When: Wednesday November 5 from 6:15pm to 7:45pm (the event starts at 6:30pm sharp)
Admission: $5

Space is limited, admission will be granted on a first come, first serve basis.

career tool: networking binder

Building up a network of friends and acquaintances (as I recommend you do), isn't of any use if you can't remember who it is you met from such-and-such magazine at that media event, now that you want to apply for a job at said magazine.

To keep track of who you know, put together a networking binder – essentially an address book with footnotes. In addition to name, phone number, email and address, also write down where you met each person, what his or her affiliations are, plus other tidbits of info that may come in handy, like shared interests. For example, if you noted that the editor you met not only works at that magazine but that you shared a conversation about iPhone apps, start off an email to her with a recommendation for a great new iPhone game you just found, then launch into your request of what she knows about the job opening. This idea comes from stationery retailer Russell + Hazel, which recommends using a mini binder, though if you do have that iPhone, you could easily just add comments in the notes field of each contact entry (and add a photo of the person, too, if you're not so great at linking faces to names).

how old is too old to intern?

Are you beyond your 20s and trying to break into magazines? You may find yourself facing the question of whether doing an internship is a viable option at your age. Usually these spots are filled by "kids" fresh out of school, but perhaps being older with more life experience puts you at an advantage – or maybe not. An article in the Globe and Mail ponders a few of the pros and cons of interning in your 30s, and I'm curious as to what you think about it (besides the gross generalization that 30-somethings are "an indecisive generation of folks swapping careers like baseball cards"). If you are/were older than 30, would you consider doing an internship? Would you hire an intern who was older than 30?

mags on film: funny face

Now hear this. I simply cannot release this issue the way it is. In the 60 years of Quality magazine, this hits rock bottom. If I let this go through, I will have failed the American woman. The great American woman, who stands out there naked, waiting for me to tell her what to wear. It doesn't speak. And if it won't speak to me, it won't speak to anyone.

A magazine must be like a human being. If it comes into the home it must contribute. It just can't lie around. A magazine must have blood and brains and pizzazz. This is just paper. If I send paper to the American woman, I will have let her down. Yes. D for down. D for dreary. D for dull and for depressing, dismal and deadly!

– Maggie Prescott (played by Kay Thompson) in the opening sequence of 1957's Funny Face, with Audrey Hepburn and Fred Astaire

excellence & effort

Last night I attended the seminar Cracking the 49th Parallel, featuring speakers Clive Thompson, Duff McDonald and Caitlin Kelly, and presented by the American Society of Journalists and Authors. Although the event was about doing freelance writing work for US-based magazines, several comments and tips spoke to two related qualities that I feel that everyone should strive for: excellence and effort.

Be excellent. Do excellent work. This makes the people who employ you happy because it makes their jobs easier and makes them look good. I believe it was McDonald who suggested that the best way to get a story accepted is to solve an editor's problem. Editors have to fill pages with original content that's compelling, and it takes time to find that content – serve it to them on a silver platter. Likewise, if a magazine is looking to fill a position, solve the problem of finding the right candidate by explicitly showing them you're the right person and how you'll help make their publication a better magazine. Being excellent builds your reputation, and it helps you continue to get work.

To achieve excellence, you need to put in the effort. Put everything you have into getting work and doing your work. For writers, this could mean doing interviews and research for a pitch, even before getting an assignment. Thompson estimates that he spends 25% of his time researching story ideas, many of which never turn into anything. Editors will want to do research, too, when applying for a job: read at least the past year's worth of issues of the magazine to which you are applying to get a sense of the tone and an understanding of the type of topics they cover. Talk to people – find out what the work culture is like at the magazine, find out what they're looking for.

Excellence and effort will get you a long way in this industry, primarily because they're kind of rare.

find something else to do

An amusing, grim guide to journalism careers on Gawker points out that if you're getting into the field, you might as well quit now. From newspapers to trades to online ventures, the prospects are hopeless. This is what Gawker has to say about working for "good" magazines:

Oh, these are the jobs everybody wants. You want to write for the New Yorker. Or Vanity Fair, or GQ, or Vogue, or Wired, or SI, or the 50 or so other big splashy magazines that, you know, everybody wants to write for.

These jobs were always driven by connections. And guess what: they're still driven by connections, but there are even less jobs to go around now! So your chances are even worse than they would have been historically. These good jobs are never advertised, so you have to be well-connected enough to hear about them from an insider. Big magazine companies are cutting budgets and instituting hiring freezes. And every veteran magazine writer has a huge ego, so forget trying to cut in line ahead of them. Plan on getting to one of these places later in your career, as the icing on the cupcake of many years of experience, and you'll save yourself a bunch of heartache. Build up to these magazines from other, nonexistent entry-level writing jobs.

And about journalism in general:

If you're just getting into journalism, the job market is already flooded with people with far more experience than you who've been laid off, and are competing for the same jobs. If you're employed, moving up is treacherous—you never know when the new job you just took could disappear for reasons unrelated to anything you did personally.