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.

finding an internship

I've had a lot of people ask me lately about how to find an internship. Most magazines offer them, it's just a matter of doing a little research. Here are a few tips:

Determine which magazines are published from your area and which of those you might enjoy working at. How do you find them? To start, Magazines Canada offers an online listing of all their member publications (consumer), as does the Canadian Business Press (trade). Also check out the links to the right of major publishing companies.

Then contact each magazine to ask whether they offer internships. Either call the editorial assistant to ask who you should speak to, or contact the managing editor, who is most often the person in charge of interns. Some magazines also post information about internships on their website.

From there, follow the application guidelines, treating it with the same professionalism as when applying for a paying job.

One final note: Don't be picky. Internships at the larger and more well-known publications are highly sought after and very competitive. Apply to smaller magazines and trade publications as well. It may not have the impressive factor of working at a big-name mag, but you'll learn more. Smaller mags have smaller staff so often rely on their interns to fill in where needed. Editorial internships mostly involve fact-checking, but a good one will offer the the chance to write and get more involved with things.

from the horse's mouth

As per my earlier post, Kim Pittaway's complete list of tips on how to bulletproof your career can now be found online here.

recommended reading

It's Not How Good You Are, It's How Good You Want To Be by Paul Arden, Phaidon, 2003.

Looking for some motivation without resorting to cheesy self-help books? This well-designed pocket book is well worth the read. Some of my fave wise nuggets:

Your vision of where or who you want to be is the greatest asset you have.

Aim beyond what you are capable of. Try to do the things that you're incapable of.

Do not seek praise. Seek criticism.

If you can't solve a problem, it's because you're playing by the rules.

pitch etiquette

If a pitch of yours has been declined...
DO ask why it wasn't suitable for the publication and how you could better tailor your pitches in the future.
DON"T ask the editor for her suggestions on what other magazines you could pitch the idea to.

will work for free

At the recent Ed2010 Toronto Happy Hour, I was asked about volunteering and writing without getting paid. At some point, every writer and editor feels the pressure and need to work for nothing in order to build up his or her resume. But whether it's money or some other benefit, you should always get something for your time, effort and talent. Here are a few quick thoughts; watch for more on this subject (and about internships) in the coming months.

• Volunteering for a cause or nonprofit organization is a good thing. Getting involved with groups like Ed2010, the National Magazine Awards or your charity of choice gives you an opportunity to learn, network and give back to the community (yes, the magazine industry is a community worth giving back to).

• Writing for free makes sense only if you need the clippings. If you're not getting paid, there needs to be another benefit to doing the work. If you're at the beginning of your career or trying to cover a new beat (say, you're a business writer aching to wax poetic about food), sometimes the only people willing to give you a chance are the ones who don't pay. Advancing your career is a perfectly good substitute for cash.

• Working as an editor for free is an entirely different thing than writing for free. Taking on the editorship of a small independent should exempt you from doing an internship. And it's much better experience.

• Don't do it forever. No matter how much you love it, eventually you'll burn out. Always ask yourself, "What do I get out of it?"

recommended reading

The British Columbia Association of Magazine Publishers (BCAMP) produces a set of magazine publishing guides called the In Print Handbooks, covering business strategies, circulation, distribution, editorial management and marketing to advertisers. For students, anyone starting a magazine or for those who just want to know, the series is a great resource. At $32 a set, it's inexpensive too.

think community

Check out this site created by faculty and students in the Masters of Publishing (MPub) program at Simon Fraser University in B.C. It covers industry news, events and has job postings.

Stay ahead of the pack

Last Thursday I attended the latest event held by the Canadian Society of Magazine Editors (CSME). The session was called "Bulletproof Your Career" and featured special guests Kim Pittaway (writer and former editor of Chatelaine) and Laas Turnbull (executive VP of Brunico Communications Inc. and former editor of Report on Business Magazine and Shift).

Here I've paraphrased a few of Laas and Kim's expert tips on how to stay ahead of the pack in the magazine biz:

BRAND YOURSELF
Figure out what you excel at and sell that. Are you a phenomenal writer, packaging wizard or display copy virtuoso? Do you constantly have your finger on the next big trend? Can you coach and nurture writers to excellence? Figure out what your strengths are and promote that aspect of yourself in your resume, cover letters, interviews and at work. Work at becoming known for what you're good at.

DO YOUR JOB WELL
In an industry such as ours, you never know when the next opportunity is going to present itself. Or, for that matter, when circumstances will change and you'll be on the hunt for it. Doing your job well is the best thing you can do to market yourself. This is a small industry and people talk. Editors often pick up the phone to call a friend and find out what what's-his-name is really like. (I've done it myself.) Or, they'll be looking for a person who's particularly good at such-and-such and asking for recommendations. Word-of-mouth is a powerful thing – make sure they're saying good things about you.

PUT YOURSELF OUT THERE
By networking -- such as being a part of a community like Ed2010, doing freelance work or volunteering for things like Magazines University or Magazines Canada -- you're making connections in the biz. Again, this industry is small, so getting to know people at other magazines, as well as meeting people in other industries, is important. You never know when you'll be working with them, or when they'll be in a position to lend you a hand (or when you'll be able to help them out). For example, some job opportunities aren't advertised and the only way to find out about them is by word-of-mouth. If you're hooked into the grapevine, you'll hear about those opportunities.

Good luck!