It’s funny: I know in the last year or so I’ve read stories where I’ll come across a quote that’s followed by, “… wrote John Smith in an e-mail” or “said John Smith during a phone call from his home in Paris.” Speaking of France, I believe I did a story for the Boston Globe in the last six months where I made a similar disclosure (I interviewed the subject of my story, who lives in Lyon, during a phone call. I know the Times’ folks are a little sensitive about truth in reporting, so that’s probably why I did it).

I’d look to my editor to make the judgment call. Some magazines/newspapers won’t give a fig how the quote was obtained, so you’ll be free to say, “… Smith said” and leave it at that. Personally, that’s what I prefer, but I’m not Boss of the Universe. (Yet. I keep telling my husband it’s next on my list of goals.) As long as the source “said” it, who cares how his words were communicated? I suppose if those words got to you by carrier pigeon, that would be interesting. But I digress, yet again.

What say the rest of you? How do you handle quotes gathered from e-mail, IMing, or carrier pigeons? Tell us below!

Got another writing-related question for us? Send it to questions[at]therenegadewriter[dot]com. [db]

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Hilarious! Dennis Cass should be in standup (maybe he is?) … his timing is perfect and he’s 50x funnier than Jerry Seinfeld. My favorite line: “You know what’s funny about the Oprah question … I would have just called you and said ‘I’m going on Oprah.’ I wouldn’t have let you come to me.” [db]

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Sure enough, she hadn’t received my earlier e-mail. She went through her spam filter and found my recipes nestled among the v*i&a%g(r@ offerings and pleas from orphaned Nigerian millionaires.

Have you ever innocently sent an e-mail, only to notice later you’d titled it with a skeevy subject line? Linda has a funny story about one of her pitch e-mails … maybe she’ll share! Tell us your story in the comments section below. [db]

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Thanks, Carol, for the kind words. And wow, that’s a great question! I’m always surprised by the things that offend some people — and equally surprised by the things that don’t. With new editors or clients, though, my instinct would be to think carefully about anything involving religion, sex, or politics — within reason, of course. I’d be fine with including on most pitches that I’d had work published in the Christian Science Monitor, the Nation, or Playboy. However, I’d probably leave a Penthouse credit off on a query to Wondertime, that sort of thing.

I’m unclear whether you’ve done commercial writing for this organization, like newsletters and grants. I would not include that information in a pitch letter to a magazine, even if they’re an uncontroversial client. Many magazine/newspaper editors don’t approve of journalism mixing with commercial writing for companies, organizations, and nonprofits, even when there’s zero conflict of interest. Many journalists feel this way, too, but that’s getting into another post. The easiest thing to head off all these problems is to avoid journalism stories that don’t have a whiff of connection to your commercial clients — religious, controversial, or run-of-the-mill.

Got a writing question for the Renegades? Send it to questions[at]therenegadewriter[dot]com. [dianaburrell]

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“Diane?” she repeated, a little louder. Still, no one stirred. She looked at the chart in her hand. “Diane BURRELL?”

Ah, it was my turn. “It’s Diana,” I said as I stood up. “I hope it’s spelled right on my chart.” She checked and it was. “Sorry,” she said as she led me to the examining room. “People are always messing up my name. I should know better.” (I forgot to look at her name tag. I was just so relieved to be making progress toward a medical professional!)

I once read or heard that the most beautiful word in any language is one’s own name. I don’t know how researchers know that — maybe they measure pleasure sensors in the brain as PhD. candidates call out words, who knows? One thing I do know is one of the most embarrassing things that can happen to a journalist is to spell someone’s name wrong in an article that’s gone to print. It hasn’t happened to me (knock wood!) and I wonder if it’s because I’ve spent thirtysomething years pointing out to people that I’m not the Frenchified version of my lovely Latin name.

Misspelling a source’s name in print has happened to many writers I know, and it’s embarrassing on so many levels. So my advice for the week: next time you’re interviewing a source, ask them to spell their name for you. Then repeat the spelling back. Even if you have their book in front of you or you’re absolutely, positively sure they’re a Thomas, ask. I can’t tell you how many times this simple step has saved my butt. I’ve learned a John was a Jon, a Thomas preferred Tom, or an “e” in a name had an umlaut over it. If a name’s spelling is particularly tricky, I let my editor know when I turn the piece in (so they don’t “correct” it, which has been known to happen) and tag it in my factchecking materials.

Have you ever misspelled a name in print? How did you handle it? What tricks do you use to make sure you get names right? Post your answers below. [db]

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My biggest thing is just how to come home and write it all up into something cohesive and usable. And what kinds of notes to take, brochures to pick up, people to talk to, etc. along the way.

Chris, you’ve framed your question perfectly. In travel writing, your stories can only be as good as the notes you take and the information you gather in the field.

Preparation really is the name of the game. How to best prepare? Although we all want to write accurate nonfiction, the most productive trips start with an act of imagination: what kind of stories do you hope you’ll find on your road trip? What sort of material will you need to write such stories, and how do you put yourself in a position to make finding that information more likely?

Thinking through these questions will make your trip more directed, and combined with good note-taking habits, will put you in a good position once you’re back home at your desk.

At which time, your work has just begun! It’s something I struggle against mightily, in fact, every time I return from a trip, I am always tempted to believe that I have the story in my notes– that it’s a simply a matter of moving things around and prettying up some language and hey presto, I’ve got a story! Well, I usually do have the beginnings of story in my notes, but there’s a lot of thinking still to do. Readers aren’t well-served by stories that are mere information dumps, and editors won’t buy them anyway. Our job as travel writers is to put the information we’ve gathered into some kind of context, and to create meaning. As the writer Vivian Gornick says: “What happens to the writer isn’t what matters, what matters is the larger sense the writer is able to make of what happened.”

Anyone can travel and gather raw info, but a good travel writer will apply her brain power to turn it into a story that stands on its own. In my upcoming travel writing workshop, we spend a great deal of time on preparation for travel, effective note taking on the road, and finding meaning in the information you’ve gathered once you get home. –[Alison Stein Wellner]

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Ooof. I can sympathize, Kate. A couple years ago, I wrote a high-concept article about a common parenting problem. Another freelance writer I know had actually talked to me about the structure I’d come up with for this story when we were discussing the magazine. Flash forward a year: I’m at our local bookstore, checking out magazines, and I see a very familiar coverline — almost the exact coverline that had been on my story — but on a competing publication’s cover. My mouth dropped open when I flipped the magazine open and see that the whole structure of my article has been lifted and applied to a similar parenting problem by the very same freelancer I’d been talking to a year before. Seriously … lifted right down to the very bones!

Your situation is a little different: it sounds like you found the very same structure applied to the same idea you wrote about in Magazine X last summer — and that’s got to smart. Can you do anything about it? Very little, I’m afraid, unless this writer also appropriated your phrasing for his or her piece — and it doesn’t sound like this happened. Story ideas can’t be copyrighted, which means other writers are free to look at your article in Magazine X and say, “Wow, that would be a perfect story for Magazine Y!” and put their own stamp on it.

Some other possibilities: the writer could have come up with the idea on her own and it’s just bad luck for you that the other writer got to your new market first. Or, an editor at Magazine Y could have seen your article in Magazine X and asked the writer to develop something similar — or, she could have edited the copy to fit the structure, which happens a lot, especially with consumer mags. The bottom line? You’ll drive yourself crazy trying to figure out what happened here because I doubt you’ll find the answer. The consolation is that at least you know your ideas are perfect for Magazine Y. In fact, you could send an editor at Magazine Y a new pitch, attach your clip from Magazine X, and say, “I saw the story you did on probiotics in the May issue; here’s something I did for Magazine X on the same subject last year. It sounds like we’re a good fit, idea wise. I have a new idea in mind for you, a story on the surprising benefits of caffeine …” In short, try to make lemonade from this lemon of a situation!

Blog readers, any other suggestions for Kate? Post them below. And if you have a writing-related question of your own, please send it to questions[at]therenegadewriter[dot]com . [dianaburrell]

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I’m setting up a website for my clips and they look a little thin. Before the Post [I] freelanced for a small weekly where I got a few front pages with full color photos. Plus, I was just published in Boy’s Life (my first magazine!) with a nice color clip where I did a brief and photos. Now that I want to move my writing up a notch, I’m wondering how to show off my clips. Should I mention somewhere that I report regularly for the Metro section? Should I just showcase the magazine and the big city newspaper and forget about the weekly? Does a front page from 2005 in an unheard-of weekly even warrant space at all? And what about all the real estate pieces (with photos) that I did for the weekly?

Denise, despite your proclamation that your clips look a little thin, I think you’ve got some good currency to move your career forward. Although you don’t have a lot of bylines for the big city paper, the fact that you string for them is a huge plus. In a pitch letter, I’d say something like, “I’m a stringer for X, where I contribute reporting and writing to an average of 5 stories per month” and skip sending photocopies. As for the real estate pieces you did for the weekly newspaper, are there any stories that showcase your writing, that you’re particularly proud of? Then I’d use those pieces as clips, although they’ll probably be most helpful to you if you’re pitching real estate or business magazines. Otherwise, I’d just list these pieces in my credits.

You didn’t ask, but here’s my .02 on clips: They’re overrated. The only thing a clip (or a link on your website) shows an editor is that you’ve been published. It doesn’t tell them much about how you write — they could be reading great editing — and they don’t prove how professional you are, despite expensive-looking business cards or a professionally designed website. I truly, deeply believe that most editors really don’t care how many clips you have or what magazines you’ve written for if your pitch letter’s pitch perfect: that is, the prose sparkles, the preliminary research is promising, the idea is spot-on for their audience, and you present yourself well in the exchange (”I’ve written for Boy’s Life, and I’m a stringer for X and a former correspondent for Y, where I covered real estate and small business stories.”) There are exceptions: I know of one national women’s magazine where they ask for a stack of national clips to “approve” a writer. Frankly, I think magazines that do this are a tad high-maintenance, but I digress. The majority of editors range from curious about to indifferent to your credits, so don’t let a thin stack of clips stop you from pitching a dream market and moving your career to the next level. [dianaburrell]

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How does the practice of Zen relate to magazine writing, book authoring, or copywriting? I think many people see Zen as omm-ing in a corner and chanting in exotic languages, and it doesn’t seem to fit with the deadline-driven, stressful life of a freelance writer.

Actually, I consider a Zen attitude essential for my life as a freelancer. I don’t have a boss looking over my shoulder to impose deadlines. I have to make it happen myself, and if I let myself get too stressed or scattered, I would never be able to produce the volume of work that I do. But a Zen focus helps me work more efficiently and with less stress. I plan what I need to do each day, and then I use that job as a sort of meditation. When your work becomes a point of focus and you get completely immersed in it, you sort of (at the risk of sounding cheesy) “become one” with the task. Boredom, tedium, and stress become non-issues because you *are* the work. When I come out of this kind of “zone,” I’m often surprised, and usually pleased, at what I’ve written. In other words, a Zen approach to work is really just a matter of doing and becoming, without letting all the typical barriers and distractions interfere. It’s not that I don’t sometimes get bored or procrastinate or avoid work I consider tedious. I’m only human. But I really do believe a Zen attitude helps minimize these distractions, and without it, I wouldn’t be able to do what I do.

In your book, you talk a lot about being mindful. Do you have any tips for writers who feel scattered between different projects on how to shut out the mind-clutter and concentrate on the task at hand?

Sometimes it just happens, but most of the time, it requires some practice and effort. Of course, Zen *is* the practice, it *is* the effort. Sometimes, a pause and a focus on the breath can bring the mind back to the task, but mostly, it’s a reframing of attitude. Ask yourself, why are you scattered? Why aren’t you doing? What is getting in your way? Look at whatever that is. Do what you need to do with it, or put it aside. The more you do this with consciousness and intent, the easier it gets. You aren’t a slave to your mind. You are in the driver’s seat. Your mind is just along for the ride, and has no business driving.

One part of the book that resonated with me said that you shouldn’t care what other people think of you because you can’t know what they think and you can’t control what they think. How can writers let go of worrying about what editors, readers, and other writers think of them?

Ah, that’s a good one for a writer! A lot of people give up on this profession because they do care so much what other people think. A rejection letter practically kills them. But if you want to be a writer, you have to want that more than you care about what other people think. You can look at it like this: I write. I learn from writing. Others can teach me and I can teach myself by doing. I can do the best I can at any given moment. But each person is doing what they can do in their own moment, and that has nothing to do with my moment.

You have to just go on, moment by moment, word by word, assignment by assignment, doing your best through practice and effort. You can and certainly must watch and pay attention to what other people do as it relates to your work. And you have to do a good job. But to see the reactions of others as a reflection of you or a judgment of you is really just absurd.

The other part of this is ego. Writers tend to pour a lot of ego into what they write, as if what they write is the very essence of themselves. Of course, this isn’t true. You are writing words that may be work–like doing the dishes, doing an assignment because it’s your job–or it may be inspirational, even genius. But even the best piece of writing in the world is still just a finger pointing to a reflection of the moon in a puddle on the street. Pardon the extended metaphor, but my point is that writing isn’t *you,* and to think what you write is even anything special, although a natural thought for a writer or any human being, is something to notice and then release. Better to think, “It’s interesting how much ego I have tied up in these symbols on the page,” rather than, “If that editor doesn’t love my article/novel/poem, I must be bad at what I do.” You are just doing, you see. It doesn’t mean anything beyond what it is. And it certainly doesn’t mean anything what others think of it.

Earlier, I said that you can get immersed in your work and become the work. Yes. But this is totally different than putting your ego into the work and *being* the work. You have to be the work, without being the work. That really does make sense, in a Zen sort of way.

Can meditation help writers be more creative or succeed in their careers?

Absolutely. When you release your mind, all kinds of amazing things have the space to blossom in there. And creative people are often more successful in their careers. So are hard workers who don’t let a lot of stupid crap get in the way of what has to be done. I also think meditation adds a sense of humor and levity to the mind, and people who are less serious and invested in their own importance tend to be more creative and interesting, and that can boost success.

How can writers meditate at their desks?

Stop writing. Close your eyes. Open your palms. Breathe. Be there for awhile.

You discuss how your home can be conducive to Zen living. How can writers create an office or writing space that helps them live in the now?

I’m not practicing what I preach here, but a clean, clear desk is like a metaphor for a clear mind. Then again, each person works in their own way. In general though, a desk full of distractions will promote a distracted mind, in my opinion. Put in front of you what you need for what you are doing right now, then dive in.

You’ve written a ton of books, and I know many of our readers are interested in writing books as well. What are the top three tips you would give them?

1. Work on your writing and get good at it. Get training, if necessary. Hundreds of thousands of people want to write books, and don’t even know how to write a grammatically correct sentence. Editors aren’t there to fix up your writing. You need to be skilled, and that takes practice and effort. Do the work.

2. Tell people what you do. Meet people whenever you can. Query publishers. Write for magazines with subjects similar to the book you want to write. Get known. Don’t be a snob. You never know when you might meet somebody who needs someone like you to write a book. They might call you up, just because they loved your article in Podunk Weekly. Then again, if you just want to write a book for yourself and you don’t care about making a living at it, then write it. Don’t be one of those people who says, “I’m going to write a book someday.” What are you waiting for? What’s getting in your way? Whatever it is, it’s probably not real, so get over it. Do the work.

3. Don’t limit yourself. If someone gives you a writing project, unless you hate the subject, do it. Don’t turn it down out of fear. A writer with good research skills and self-confidence can write about anything. (But don’t misrepresent yourself, either. Never pretend you know things you don’t know yet.)

Is there anything else you’d like to add?

I think no matter what job you have, Zen can help you do it better, and no matter what skills and talent you have, Zen can help you improve those because it helps clear out all the obstacles. When what you do is nothing special and isn’t about you, and nothing is riding on it, and it isn’t really real, and it doesn’t matter what anybody else thinks about it, but yet you can become totally immersed in it until you become it, your work can become surprisingly fulfilling. At least, that’s the way it is for me. Seeing my work this way makes me happy. [lf]

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So, Tiffany wrote in and said that she and her husband were taking a trip to the Danube Bend. And then she asked:

I’ve always wondered if I could enjoy my vacation *and* use it for writing fodder, so I am definitely interested in any ideas on how to do both without compromising either.

What a great question Tiffany!  Let me try to sort through an answer.

Traveling as a writer is quite different from traveling as a “civilian” on vacation. On assignment, you’re trying to always be alert to what’s happening around you, trying to render that smell, that sound, that intriguing little man with the marionette, into words.   You might push yourself beyond your comfort zone, doing things you might not do on your own, taking tours that you wouldn’t necessarily take, asking total strangers for interviews. I don’t know about you, but I don’t usually interview people for relaxation.

On the other hand, there’s no reason why you have to be completely “on duty”. You can just keep your eyes and senses open for sensory details and ideas that are intriguing, carve out a little time in the morning as you’re enjoying your coffee to make a few notes, casually gather a few more brochures than you might otherwise scoop up, and see what that gets you. You might find that it’s enough for a story once you get home –and if not, you’ll have a great diary of your vacation.

After all, we often integrate a little “off-duty” fun into our work trips, so why not integrate just a little bit of work into a fun trip?  For instance, I’m leaving tomorrow for an assignment in Nashville and fully intend to enjoy the dinner I’m going to have with my family there –and I’m not going to write about it either! (Okay, okay, I’ve already  written about the restaurant we’re going to…but I’m not insisting that we go to a restaurant I haven’t yet tried, which would be the proper, hardcore travel writer thing to do!)

And really, are we writers ever off the clock completely? I mean, if were just lying on the beach somewhere and a totally fabulous idea just walked up to our beach towel and leaned over and planted a big wet sloppy on our cheek, would any of us honestly shoo it away, saying not now honey, I’m on vacation ?

The question though, was whether you could do work and do you vacation without compromising either. If you don’t want any work to sully your vacation time, and any vacation to get in the way of your research, the best idea is probably to set aside a couple of days of your vacation to do some research. Whether that feels like too much of a compromise or not, is of course up to you!

Chris-who-is-going-to-Costa-Rica on honeymoon, I haven’t forgotten about you either! You will be the subject of my next post. –[Alison Stein Wellner]

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