On Thanksgiving Eve, while most New Yorkers eagerly shuttled out of the city, I befittingly found myself glued to my couch in Alphabet City, alone, milking a bottle of wine. Solitary gulps couldn’t replace my family’s embrace but somewhere between the self-pity and nostalgia, I found a silver lining. This week marks my 2nd year of living in New York. Bottoms up!
Should the occasion warrant celebration or consolation? In the past month a number of authors have written emotionally wrenching tales about their breakups with the city. “Why I’m Glad I Quit New York At Age 24” likened the city to the overrated “prom king”. Most recently, “The Long Goodbye“- a NYT commentary on well-known writer’s broken love affairs with NYC – prompted me to ask whether it was time I cut the cord soon too.
2 years is not a long time, but it’s enough to begin embodying characteristics unique to a place. Certainly, my expectations of the city have evolved since day 1. I still remember arriving on a bus with an oversize suitcase that could barely fit in the aisle. Scurrying to the dinner I was late for (the beginning of a recurring New York theme) only to have my dinner date keep me waiting for an additional 30 minutes. Within 24 hours, I had learned an important New York lesson: never wait longer for someone than they will wait for you.
The rest of it reads like a once-poignant-now-trite Thought Catalog riff. But in New York’s defense – or perhaps I’m stuffed with Thanksgiving propaganda at this time of year – I’ve learned lessons which can only be attributed to New York’s hard-knock teaching style. Here are a few:
1. The city moves fast, but you still need to wait at the station.
*applies to more than just commute times.
People can respond to your emails in a heartbeat, but getting anyone to do anything is like moving a mountain. When you’re young, resistance finds you at every corner. You have to pay your dues.
In a literal sense, you need to add at least 20 minutes to a projected commute time because the R or F train will likely be delayed.
The moral is that plans, ambitions, and dreams often get derailed by unforeseen obstacles but usually (God willing) you get to where you need to be. It just takes patience and waiting for the train to come.
2. The city gets smaller, while the world gets bigger.
New York City is the center of the universe and there’s always people to meet. But as my network has expanded, I’ve experienced a shrinking of the “center”. This simultaneous shrinking and expansion of worlds is interesting. The more people I meet, the fewer degrees of separation I am from other people in the city (and the more I treasure my close circle of friends). Neighborhood establishments become part of the routine and former strangers become friends. New York City essentially becomes one big town and way more manageable.
Then I flip to an article on Syrian refugees fleeing to Europe and never does anything seem farther away.
3. The hero is redefined.
Few places embody beauty, wealth, and status more than New York does. I arrived here as starstruck as the worst of Bieber groupies. But after meeting a handful of personal role models- some as impressive as I imagined and others rude as rats – I’ve had to destroy my gods. Working in media taught me that so much of what we see is a marketing blitz and once all the fluff is stripped away, well – celebrities are mere mortals too.
Perhaps because of the preponderance of celebrities in this town, titles and money are a dime in a dozen. What’s harder to find is genuine compassion, a desire to listen, and an ability to think deeply about meaningful issues. While I’m not immune to the allure of wealth and its impact (we all need to make a living), New York’s in-your-face inequality reveals the inflationary value of certain attributes and a gap in appreciation for the everyday heroes who display value beyond the short-lived hoopla of models, millionaires, and moguls.
For the past two years, I’ve raced to keep up with NYC’s speed, size, and glitz. It’s kicked my ass. But I’m proud of what I’ve accomplished overall: building a network within the tech and startup community, writing for one of the most-read US digital publications, working for the government of this grand city of cities, and most importantly, learning more everyday about this intricately woven world. While I have acquired certain archetypically New York characteristics, the hardest part about living here hasn’t been about becoming more assertive, professional, or socially savvy. It’s been refining the qualities that often aren’t associated with New York: patience, humility, and compassion. In its own prickly way, New York City has forced me to reconcile its somewhat contradictory nature (movement-stillness, expansion-shrinking, glitz-poverty) in a way that tamer cities simply can’t.
Saying “Goodbye to All That” is justified. For my friends wondering when I will leave, my answer is not yet. Two years ago, I came to audition. Two years later, I’m still perfecting my routine. I’m still naive enough to believe that, more than anywhere else, New York City is the place for reinvention. Tomorrow, I will say “Hello again, New York” – like I do everyday – and audition for the next month, year, future. The show is yet to begin.
What makes a good story? Writers are often judged by what appears below their byline, but there is so much more to a good story than that. The public rarely gets to see the exciting grunt work behind the scenes. An initial story idea, like any entrepreneurial venture, goes through several pivots and iterations, before the golden story materializes.
Pitching to my editors is my favorite part of the job, but it’s also the hardest. Balancing what the public wants to know with your moral compass of what you think they should know is tricky.
There are a million backstories behind the final product. The vetting process – determining what is worth writing about, what people will like, what they should know – involves asking the right questions. What are readers curious about? What is their perception on a topic? What do they know that I don’t?
I’m creating a newsletter to involve my friends and family in story development. Each week, I’ll share stories I’ve posted, stories in the pipeline, and stories that need some fleshing out. I want to hear your thoughts on the stories in queue. Think of it as a sounding board, and your chance to add input to a story before it is published.
My strategy thus far has been to post a question on Facebook and Twitter. “Hey, what internship advice do you have for new interns?” “Do you know anything about Atlanta? Let me know!” It can get annoying. So, one other purpose of this newsletter is to reduce my clutter and create a targeted community of people who do actually want to participate in the development of stories without bombarding everyone else’s social feeds.
If you’re interested in participating, here’s the link to sign-up and feel free to forward to anyone else who is interested:
ps. the inspiration for a newsletter came from Ann Friedman, who wrote this helpful post on How Writers Can Use Email To Share Their Work. Her weekly newsletter is a mix of her original work, suggested reads, pie charts, and funny gifs.
I attended an editing workshop at The Poynter Institute this week. In some ways, I don’t really know why. I’ve never held an editing role in my life. I’m not particularly enthused by the thought of reading over other people’s work. And for all I know, editing is the red markup you get back when your writing is bad. Who would ever aspire to be that person, that word janitor?
Beyond reason, I went to the workshop anyway, and I’m glad I did. It certainly didn’t hurt that Poynter is conveniently located in St. Petersburg, Florida, home to soft white sand that sifts seamlessly through your toes and a sun that coalesces beautifully with your skin. I figured that my indulgent beach lounging would be justified if I acquired some form of knowledge in addition to a bronze glow (which ended up being more lobster-red than anything).
The other attendees at the seminar were -surprise!- actual editors, and way more accomplished than me. I was humbled to sit alongside some really impressive individuals. Shout-out to Lisa, a news editor who works for a news wire I can’t pronounce (the Swedish version of the AP) and who travelled all the way from Stockholm! The 15 of us learned tips on line editing, brainstorming story ideas, coaching reporters, and social media. But for me, the most important takeaway was quite basic: an understanding of what an editor actually does.
Traditionally, the image of an editor conjures up images of a white male, legs perched on a desk, brooding over a newspaper mark-up or proceeding over a meeting. It’s a grand representation of man’s authority over what is “fit to print”. That image is partially true. But there is also a softer, less tactile element that involves the relationship between editor and writer. I learned that editing, at its core, is less about being a hardline news guru as it is helping to nurture and coach writers to construct stories in a way that enhances their value beyond the individual lens.
So, the most basic question an editor must ask is: “What to look for in a piece of writing?” Looking over someone else’s work is a huge responsibility. The first temptation is to rewrite from our own lens. All spelling, grammar, and syntax aside, I learned that there are really only 2 important things to look for: theme and clarity.
Theme – A story is only good when you know what it’s about. At the end of a story, you should be able to easily identify the core message. If you can’t, that’s a problem. Determine the focus of the story and be sure that every section directly adds to that theme. This eliminates redundancy and trims fat, builds muscle.
Clarity – This goes hand-in-hand with theme. If you know the theme, find a way of mapping it out – clearly. Kelley Benham, a writer and editor for the Tampa Bay Times (whose recently Pulitzer Prize-nominated piece you should read) recommended “running a chronology comb” through the writing. Making a timeline with a logical procession of events usually helps to construct stories with absolute simplicity and clarity.
I found these guidelines reassuring and helpful. Previously when given a piece to edit, I would strap on my writing helmet and enter battle. Never was the pen a mightier sword as it slashed through words and corrected spelling like a gallant warrior. (Allow me, itt was the closest I’d get to feeling like my life was an action movie. These days, it’s not so glorious when everything is done on a blinking screen; I type louder to make the process seem more dramatic.)
But in reality, making the paper bleed is not an editor’s job. It’s the reverse, actually; becoming a word janitor is what happens when you don’t let the writer do what he or she is supposed to do: write.
John Carroll, the former editor of the Los Angeles Times, advised editors to cultivate a lazy streak:
“What’s better than rewriting is to take an extra few minutes diagnosing the story’s one or two biggest problems (but not all of them) and return it to the reporter for adjustments. This is good for all concerned. You won’t get bogged down doing someone else’s jo b while oher stories pile up. And the reporter will be able to take pride in the story. The story’s minor problems tend to get straightened out in the rewrite process.
Good editors often have a lazy streak. Instead of impulsively jumping into the fray, put your feet up and figure out how to get somebody else to do the work. Things usually turn out better that way.”
Rather than rewrite, an editor’s job is to discuss the story and make it culturally relevant, together, with the writer. It is to make the story so deep, rich, and revealing of something deeply embedded within our human nature. It is to find a story that rises above the individual lens, that spreads its wings beyond the mere facts. That’s editing.
I knew I was attracted to it for a reason.
*Many thanks to the staff at Poynter for a well-organized and insightful workshop. I highly recommend their training programs to those in the journalism profession looking to sharpen their skills. Special thanks to Tom Huang of the Dallas Morning News who led the seminar and encouraged us to find our “personal dimension” to this line of work. The story will continue to evolve, but I think, just maybe, I’ve found the beginning scraps.
Got really vulnerable, y’all.
Last week, I had the fortune of meeting Christina Vuleta, founder of 40:20 vision, a website that offers advice from 40something women who have been there, to 20something women (like me) who are trying to figure it out. Christina was a panelist at a 40:20 Highwater Women panel where she, along with some other incredibly accomplished women, offered invaluable tidbits on how to navigate this thing called life. I feel extremely lucky to have made a connection with someone so willing to pass on her experiences and help the next generation weather through the rocky 20s.
I wrote a guest post for her site about a topic I’ve been thinking a lot about lately: failure.
Read it, but if you’re busy here’s the Cliff’s Notes version straight from the last two sentences:
Embrace failure as relentlessly as you pursue success. One is not better than the other, as they both simply bring us closer to the goal.
Elusively motivational? That’s how I like it.
Also, I haven’t said this before but to all who actually read these meanderings, thank you. I don’t get to see your faces often but simply knowing that there are faces is encouraging. It’s what keeps me typing. 🙂
The more often you create and share ideas, the better you get at it.
My friend Alex and I have decided to gather a few women every other week to brainstorm business plans, passion projects, and entrepreneurial ventures together. Our 20s are a critical period for growth and at a time when commitment to ideas is especially hard to find, we believe a group like this is necessary.
The goal is to compile ideas and follow through with ones that resonate. Some will be interesting, most will be lousy, one or two may even work. The point is to simply hold ourselves accountable to doing work that really matters. Ultimately, we want to find an idea that sticks and matches our unique strengths with the needs of the world.
What this group is not: a think tank or discussion group. Ideas are a dime in a dozen; money lies in execution. We’ll craft plans to make ideas happen. Some will fail but hey, failing isn’t as bad when there’s a group of other smart, motivated girls experiencing it with you.
If your current routine isn’t cutting it, join us as we experiment with projects that lead to greater fulfillment, if for any reason because doing stuff on your own is hard. We’re looking for a group of 4-6 New York women in their 20s, curious with a desire to learn and do something more. Any industry, talent, or niche is welcome. Leave a comment or email firstname.lastname@example.org for details. We’ll likely be meeting on Sunday afternoon, so be willing to sacrifice Sunday brunch for this. In exchange, a supply of lady refreshments ie. wine & cheese, will be on hand.
If you’re not in New York, sorry- we’re keeping things local for now. But stay tuned!