HOW WRITING GIGS HAPPEN

Austin

Austin Kleon and I, promoting literature.

On Wednesday, I was inspired by author/speaker/creativity dude Austin Kleon, our guest this week on Statesman Shots. In the mode of his new book, Show Your Work, and also because I’m trying to get back into the swing of blogging more regularly, I thought I’d share a quick post about a particular writing gig I scored recently.

As any freelance writer can tell you, writing for high-profile sites are like the pot of gold at the end of the blogging rainbow. We put our work out there for months, often years, shouting into the yawning void for anyone who will listen. We hope that one day, our words will fall on the right pair of ears, and we’ll be invited to contribute to The Hairpin, or This American Life, or Modern Love. Everyone I know wants to write for Modern Love.

The problem is, it’s often unclear how one makes the leap from blogging to uptown classy, website property writing. In my case, it almost always come down to relationships.

My latest gig is with The Atlantic, reporting for the health section of their website. My first piece was on Williams Syndrome, a condition that compels people to trust too much, and I’m reporting a piece now on the effects of capital punishment on prison wardens. I do most of my reporting with a baby on my lap, who nurses happily while Mommy discusses hardened criminals.

Now between you and me, the pay is just OK. But! The writing is still worth it, because I’m trying to expand my “beat” from Austin-y stuff to broader cultural issues: health stuff, sociological stuff, and sometimes TV stuff. Also, if you told my 25 year-old self – who would have been crazy thrilled  to get a byline just about anywhere, including your refrigerator door – that I’d get to write for The Atlantic someday, I would have died, revived myself, and died again. What I’m saying is, I’m not complaining.

So how did it happen? Here’s how:

A few months ago, I was part of a storytelling night for Austin Bat Cave. It’s called Story Department, and takes place once a month at Home Slice Pizza. I was very pregnant/hormonal/bloated at the time, but thought, what the hell?  This was probably the last time I’d get to do something like this for a while, with a baby coming and all. So I went, and told the story of attending a naked yoga class. (More on that in a moment.)

There in the audience was a fellow writer for The Atlantic, a guy named Jon Fortenbury. He wrote me after the event to say he liked my story, and we set up a coffee date / networking meeting of sorts to talk about freelancing. So we traded editor names over cappuccinos, then nervously pumped each other up over email for the next few days:

“Hey, have you pitched Salon?”

“Yeah. Haven’t heard anything. You? The Atlantic?”

“Same. Here’s what my pitch said. It’s stupid, right? It’s stupid.”

Writers are very insecure.

Anyway, fortunately – we both got accepted! So the moral of the story is: go on those coffee dates. With other writers, I mean. Mine each other for contacts, then exploit those contacts. It’s an economy of connections.

But the second, and what I consider to be more important, moral of the story?

Go to a naked yoga class.

By which I mean, your metaphorical naked yoga class. Keep your ears open for that irrational, scary experience that you would normally never do but would make an amazing story, then go do it. Exploit it for material. In absence of great connections / an impressive degree from a journalism school / an internship at The New York Times, I find that weird, unique, off-the-wall material can also open doors.

+++

Wholly unrelated, but can we conclude with a baby picture? Can I exploit my child for your love and Facebook likes? OK, let’s do that:

Processed with VSCOcam with t1 preset

In the words of my wise friend Jason Silverberg, “this is what I’m like now.”