Spotlight Interview from the Archives: Susan Pocharski

Susan Pocharski, Magazine Editor

Ladies’ Home Journal Entertainment Director Susan Pocharski has been one of the top women editors in the magazine industry for last two decades. I can also tell you from firsthand experience, having her as my personal editor at the now-defunct Maximum Golf, she’s one of the most gifted ones I’ve ever worked with.

In her career, she’s been the Executive Editor at Teen People, US, and George (another long-defunct mag); a Senior Editor at People; and the Articles Editor at LIFE. As a writer, her cover stories have been featured on Entertainment Tonight and Extra, among other news magazine shows.

The following is my exclusive interview with Susan.

Mike: What do you think is the most common misconception writers have about editors?

Pocharski: That the editor knows exactly where they want a story to go. In my experience, editors sometimes look to their writers to take the story in an unexpected—and welcomed—direction. They story is improved because the writer took the story further than its original conception.

Mike: What’s the best advice you can give inexperienced writers trying to break through, either as a freelancer or staffer?

Pocharski: Wow, that's a tough one, actually, but I think the big thing is to take chances. To write A LOT, to write about different things: so you don't lock yourself in as a “travel writer” or “celebrity profiler” or whatever. That you work on being a versatile writer. Also, that you look for the unexpected stories. Find stories to pitch that your editor couldn't possibly say “no” to. Dig deep in terms of story ideas. That's the key.

Mike: What’s the best way to query and what makes a great query letter?

Pocharski: Email is best. Snail mail gets buried. In terms of what makes a great pitch: see my response above....if you’re pitching a personality profile, pitch a story that has NEVER BEEN DONE on that person. Bottomline, your pitch HAS TO BRING SOMETHING NEW TO THE TABLE.

To be honest, though, I never once assigned a story off of a pitch letter. Scary, huh?

Mike: Tell your most entertaining (and if you can, illustrative) story about being an editor

Pocharski: I changed one word of a famous writer’s essay without telling her (by mistake, of course) and she went ballistic on me. Lesson learned: always run final copy by your writer.

Mike: What should the relationship between writer and editor be at its best?

Pocharski: Collaborative. An editor who respects the writer's talent combined with a writer who respects the editor's talent.

Mike: What’s the best way for a novice writer to approach an editor, get his/her attention?

Pocharski: Again, bring them an idea they can't turn down. And, of course, being a lively, smart, thorough writer.

Mike: What are editors looking for from writers?

Pocharski: Voice. A unique voice and a strong storyteller.

Mike: How do you define great writing?

Pocharski: Something you don't want to stop reading.

Mike: What does an editor do?

Pocharski: Guide a piece and the writer.

Seth Porges: Breaking into Magazines These Days

In his interview with the American Society of Magazine Editors, Seth Porges, the associated editor for Popular Mechanics, said this:

A lot of magazines are facing unfortunate cutbacks these days. If you're an intern or junior staffer, find out what departments have been hit the hardest and offer to help pick up some of their slack. Everybody will appreciate it.

And take whatever it is you are passionate about, no matter how off-base it may seem, and try to find an angle that could make it a story for your magazine. For some bizarre reason, I am fascinated with pinball and have found excuses to write about the topic for a half-dozen magazines over the past few years. This includes ones you'd never think would have any reason to ever print anything about pinball. If I can do it with pinball, you can do it with whatever it is you are interested in.

Here's the whole interview:

http://www.magazine.org/asme/member_qanda/seth-porges.aspx
Click here

Online Course: How To Be Your Own Best Fiction Editor

HOW TO BE YOUR OWN BEST FICTION EDITOR Online Course
http://tinyurl.com/PennwritersCourse200910
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INSTRUCTOR: Lisa Kastner
DATE: October 1-24, 2009
COST: $25 ($30 non-Pennwriters)

Learn to easily analyze characters & plots like a pro, new ways to look at your writing with fresh eyes. Save time & rejection. Revise your story like an editor & get it published fast.

Future of Journalism: Matt Pepin

Matt Pepin
Sports Editor for Boston.com
Adjunct Lecturer at Marist College
Former Sports Editor at the Times Herald-Record, New Haven Register, and Journal Register

Mr. Pepin's response to the question about journalism's future:

The skills of a journalist apply to so many media. Write the story, and it can be spun for TV, the big screen, print, web, countless possibilities. But it all starts with the well-written story.

The media that tell stories the best and the media that devote the resources needed to tell the stories the best will survive. Newspapers can be among them with the right approach.

Newspapers must look for stories they will have exclusively. For many, that means concentrating on local, local, local. For others, that means breaking national news. Just make sure the story you are telling has value to your readers.

It's clear two things drive readership regardless of the format - fascinating, compelling features and breaking news. Journalists must relentlessly pursue those to make it in the world. Aspiring journalists should start wherever they can get a foot in the door and then dominate their coverage area. Editors will notice, and then it's survival of the fittest.

Also, be willing to make difficult decisions. Don't cover a story if it doesn't even pass your own "Who Cares" test. Don't fall into the rut of feeling like you must write certain stories out of tradition, like town meetings, if there's just nothing there.

Future of Journalism: Neal Boulton

Neal Boulton
Founder & Editor-in-Chief of BastardLife.com
Chairman and CEO at Neal Boulton, Inc.
Former Editor-in-Chief of Genre Magazine
Former Corporate Development Editor, Men's Fitness, Shape, Natural Health and more at Weider Publications
Former Editor-in-Chief of Men's Fitness

I asked Mr. Boulton:

What do you tell young, aspiring journalists about the future of the business? Can you still be encouraging? What advice do you give them?

His response:

Reading is how we get that reminder that we are not alone, that we are a part of a human race with disparate feelings and incongruent behavior. And as long as we humans are kicking around, the journalist who can capture their STORIES will have a craft to hone. Neither fame, wealth, nor terms like "cutting edge" really apply to us journalists, but if a good story is what you live to uncover, to write and share with those hungry eyes and souls needing to remember they are not alone, then keep listening and keep writing—you're a journalist at your core, and you will succeed.

Future of Journalism: Jackie Leo

Jackie Leo
Director of Digital Operations at Peter G. Peterson Foundation
Senior Advisor, Business Development at iAmplify
Former Editor-in-Chief of Reader's Digest
Former Senior Producer/Editorial Director at ABC News

I asked Ms. Leo:

What do you tell young, aspiring journalists about the future of the business? Can you still be encouraging? What advice do you give them?

Her response:

Great reporting and editing is not going to go away. And why should we care about the delivery system, which is changing yearly? My advice to young people is not to wait for someone or some thing to "authorize" you. Got an idea for a great story? Start reporting it. Start blogging. Start taking photos, if that's your talent and passion. And find a mentor - some professional who will read your stuff and give you an honest appraisal.

Future of Journalism: Amy Haimerl

Amy Haimerl
Morning producer for CNNMoney.com
Former Executive Editor of Gotham Magazine/Hamptons Magazine; Managing Editor for Silicon Alley Reporter; News Editor for Westword

I asked:

What do you tell young, aspiring journalists about the future of the business? Can you still be encouraging? What advice do you give them?

Ms. Haimerl's response:

People will always love stories. Find them and write them well and there will always be an outlet. We're culling the herd, so to speak, but those willing to work and be creative will always be prized.

And don't be meek. Be thoughtful but assertive. And be willing to go to a small market and earn your chops. You'll get more out of it than you will fetching coffee in New York. You need to set yourself apart.

Find a small daily or weekly somewhere. If you click with the editor, go and get experience. Do good work. Have interesting experiences so that you have something interesting to write about

Don't worry about your voice. Learn the craft of reporting and beat development. It will serve you well later when you're writing the big pieces.

To me, it really all depends on how you answer the question: Do you want to be a journalist or do you want to be in the New York "media"?

There is a vector of overlap, but it is small

Spotlight Interview: Dave Herndon/Part 2

Dave Herndon, Editor/Writer

Whether he’s writing or editing, Dave Herndon is all about passion and exotic adventure—which makes him the perfect fit for his current position as Editor in Chief of Caribbean Travel & Life.

In an incredibly rich, varied career, he’s been a Features Editor/Writer/Critic for the New York daily newspaper Newsday; Managing Editor for The Village Voice; Senior Editor for Travel & Leisure; Features Editor for Sports Afield; Contributing Editor for Martha Stewart Living, as well as, I must add, one of the most important people in my writing life.

When he was the Sports Editor of the Voice in the mid 1980’s, he gave me the enormous break of my own column, Mike Geffner’s Rundown, which I wrote for the next 12 years. But, just as importantly, he taught me how to be a better writer. I will forever be indebted to him for that.

The following is second and last part of my exclusive newsletter interview with Dave:

Mike: What advice can you offer about query letters?

Herndon: The biggest mistake with query letters is being off-mark. Either the writer hasn't read the magazine, or is way under-qualified to do what he or she is proposing. Some, however, are too good to simply reject, but not good enough to simply accept. The good thing about that is, it makes you want to work with the person, even if that particular pitch is a no-go.

What editors are looking for most are voice, authority, flexibility, professionalism, originality, newsworthiness, and a demonstrable ability to accomplish the agenda. Read several issues of the publication, try to get a chance to talk to someone on staff about what they're looking for. Aim low on the masthead unless you're very well established. They'll usually have more time and take more of an interest.

As for which way to pitch, by email or snail mail, these days email is best. And don’t go crazy if you don’t hear back right away. Sometimes, especially with certain publications, you have to endure a tortuously long waiting period. Other times, the sad fact is, your query letter might never even get read, but sits there in a pile by the editor’s desk. What can I tell you? Deal with it. Go to the gym, meditate, play music, read—in other words, do all the things editors don't have time to do while they're ignoring you. The thing is, freelancing is a quality-of-life choice, so you better enjoy the independence and freedom, because it's a harsh way to make a living. Or just get on with your next query/project, whatever. And don't worry about multiple simultaneous pitching—that taboo is old school manners sadly passé. If you want to cut through, try using a personal appeal to someone on the staff, or contacts.

Mike: What should the relationship between writer and editor be at its best?

Herndon: Brothers/sisters in arms, risk-takers who support one another by pushing forward and pulling back as needed.

Mike: What are editors looking for from writers?

Herndon: Ideas, access, can-do professionalism, copy that doesn't suck, good leads on stories, good organization, attention to detail and the big picture—art, timing, trends, the competition, etc.

Magazine editors, in particular, have to think in terms of metastasizing content across multiple platforms and wholeheartedly embrace the concept of branding. They need to defend their brand's very existence every day, not just on the rhythm of their precious little magazine's production cycle.

Mike: How do print magazine editors view online clips and/or self-published book authors?

Herndon: If they're smart, they'll read that stuff to get a true idea of the person's talent. Published clips are misleading because they've often been heavily edited.

Mike: Ok, give me the lowdown: What does a magazine editor-in-chief really do?

Herndon: Decide what should be in their publication and try to get it done the best it can be done (under the circumstances, of course).

Mike: Any final piece of advice?

Herndon: Just stay hyperactive, brand yourself on social media, surf this changing tide—and good luck. Sorry to say, writers now need to offer value-added content (like web extras) that they might not get paid for.

I would also advise this: Get a Plan B (not that I do).

Future of Journalism: Lucy Danziger

Lucy Danziger
Editor-in-Chief of Self
Founding Editor of Women’s Sports & Fitness

I asked Ms. Danziger:

What do you tell young, aspiring journalists about the future of the business? Can you still be encouraging? What advice do you give them?

Her response:

Encouraging?... Yes! People will always read, always want the latest info and inspirational imagery, and whether it's on paper or something resembling it, we will always need content. Encourage young people to create the next generation of magazines, and then hire all of us.

Future of Journalism: Michael Caruso

Michael Caruso
Owner/Editor-in-Chief of The Daily Tube
Former Editor-in-Chief of Men's Journal, Details, and Los Angeles Magazine

I asked Mr. Caruso:

What do you tell young, aspiring journalists about the future of the business? Can you still be encouraging? What advice do you give them?

His response:

In good times, you have to have a passion for a profession. In bad times, that is true x 10. If you are very motivated and dedicated to journalism and storytelling, those will always be things you can pursue. There are all new, exciting ways to do that--from video games to social media to e-books to augmented reality and beyond. But it is more harrowing than ever to make a living at it.