Editors

nice use of a/effect.

get where you've been coming from now. just let your fucking editor fix it. jesus christ.

 

I think the feedback suggests that instead of raising hell and likely getting fired - never a good idea unless you've got another gig lined up - that if you're in that situation you should make the best of it and find other sources. Maybe it's here. Maybe it's another reporter in the newsroom. Maybe it's by reading better writers and trying to educate yourself if you've got a doofus of an editor.

There are situations where you can challenge your boss, but the advice here seems to be based on the premise this is not one of those times.

 

Mini rant from an editor:

What bugs me when I work with a writer on a early draft of a story and make suggestions such as (try an new approach with the lede, what you have down here would work better, etc.) and you get the story back with a comma changed.

Thanks.

On story ideas, I want writers bringing story ideas. Most don't do it enough. You know what, if a story seems interesting/intriguing but difficult to get and time consuming, I want that one.

 

I'd second the notion that you can learn at least as much, probably more, from your fellow writers as you can from your editor.
Yeah, it'd be great if all SEs were wise sage Yodi who dispensed wisdom and vision before I start a story and thoughtful critiques afterward. Who want to help writers tackle tough stories, like Ace. But, too often, they've got their own problems and not much time left to inspire you. This is doubly true if you've proven yourself competent and don't need much hand-holding.
So find some colleagues in the newsroom (and yes, don't forget the news side). They can help you sort out your stories just as much as an editor can. And there are more of them, too.

 

Before I go any further, I certainly didn't mean to start up any feuds with this thread. Keep that amongst yourselves, guys (and gals). Merely looking for some guidance and outside opinion on how other editorial staffs operate.

To answer the question of an earlier response, yes, I have been a freelancer for this (well-known) magazine for the last year and a half. I am well aware that this makes me a lower priority than some others and certainly do not wish to step on any toes. I understand that this is a "pay your dues" type of business and that it is ultimately MY job to improve and grow, not anyone else's. I am completely cool with that.

However, my understanding of the editor's role is to facilitate improvement and growth by offering constructive criticism (as needed, of course) and, most importantly, by communicating with writers. I don't need someone to hold my hand, but it would be nice to have some kind of regular contact to let me know where I stand. This doesn't strike me as an unreasonable request. On a number of instances, my editor has completely snubbed my emails, leaving me for weeks on end without a peep.

This would all, of course, make perfect sense if the editorial staff thought I was a lousy writer. But, there have been no signs to indicate that I'm doing poorly, seeing as how I've had several big stories that generated a lot of buzz and never been told otherwise.

So, I'm kind of clueless here as to how to proceed here. This publication knew from the get-go that my intention was to improve and grow and become more of a fixture. However, I rarely receive any feedback, direction or communication, and am starting to wonder if this publication, despite having serious name recognition, is worth all the trouble.

How do you balance the exposure that a popular, national magazine can provide with the frustrations I described above?

Thanks again for all your advice!

 

MBayless,

I work with staff and freelancers.

I don't know how your magazine works, but I am willing to help out a freelancer and give direction and critique the work.

But to be perfectly honest, what I want in a ideal freelancer is no muss, no fuss. I am paying you to cover whatever or come up with stories or commentary because of your expertise.

Generally a freelancer gets feedback if he screws up somehow or if he asks for it. And if he asks too much dumb stuff too often, he isn't a freelancer much longer.

 

Ace,

Thanks for the response. I feel I've been pretty patient with the staff I've worked with. While I will openly admit to sending a fair and steady flow of emails (mainly about new ideas), I've definitely not been overbearing about asking for constructive criticism or other "dumb things" as you mentioned.

Hey, some of my ideas might not be the greatest, and I'll admit that as well, but I'm just looking to write. If sending in ideas when I come up with them is a bad thing, then perhaps I missed a memo.

 

I've never understood writers who don't generate a lot of story ideas.

I always found the best defense against a lousy idea from an editor is to have something better of my own in the works.

And much more often than not, the writer SHOULD have better ideas than the editor. That's no knock on the editors. The writer is out there, presumably observing and absorbing things that the editor can't. Not that the editor's perspective from afar isn't useful. But a writer who doesn't overflow with good ideas probably isn't much of a writer.

 

Sending in ideas is fine.

By "dumb things" I mean asking for the phone number for a coach that is readily available or directions to every assignment or pestering about a parking pass or something.

Ideas are always welcome. Except, well, for dumb ones.

 

A-fucking-men.

I could not possibly agree more with this. I even go so far as to say a version of this out loud to my peeps when they seem to be slagging a bit. My job is to put people in the best position to do their jobs, which will mean us producing a quality product. It sure isn't to hold their hands. I expect them to have learned a little something-something before they got to me.

rb

 

I'd be a lying fool if I said that all my ideas are gold, because they're certainly not. And I'm sure some of them have been construed as a bit off-the-wall, but I think that's only human.

Back to my initial question... how would you balance national exposure with frustration and improving as a writer?

 

It all depends on what the "national exposure" is. If you are doing culling blurbs off the wire for ESPN.com, you may get national exposure but you aren't really learning to report.

You need to be out there digging up stories.