proofread your work!

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

new ryerson course on online editing

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

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

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

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

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

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

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

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

laugh of the day: unpaid internships

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

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

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

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

[Thanks to Marco Ursi for sending the link.]

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

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

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

ed2010 toronto expands

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

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

not getting your due?

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

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

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

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

What do you think? Do you have any suggestions?

is it ok to be casual in an email?

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

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

tighten your real-world networks

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

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

designer smarts

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

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

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

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

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

don't assume you'll automatically be promoted

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

media event survival tip

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

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

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

always be networking

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

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

three tips on interviewing for a story

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

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

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

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

do something nice for someone

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