Patch’s march across the South

Patch, the nascent effort of AOL to cover local news, is apparently on the move across the South.

Having already set up in the Atlanta area and in the D.C. suburbs of Virginia, Patch is now hiring in the Carolinas. Here’s the “work from home” editor job in a nutshell:

Run a local news site — reporting, writing, taking pictures and video; finding, assigning and editing freelancers and local columnists, and connecting with the community to attract user-generated content.

In this push, Patch is targeting the three major metro areas of South Carolina: Charleston, Columbia and Greenville. In each place, the sites focus on suburban markets. For example, the Patch websites in Mauldin and Easley will be competing with The Greenville News.

In North Carolina, the lone Patch job is in Fayetteville. That’s the largest city on its list of jobs in the Carolinas, and the job listing recognizes the presence of Fort Bragg. Candidates must “be able to quickly grasp the interests, rhythms and identity of a military community.”

Patch’s move into this region comes at a time when newspapers here are struggling for revenue and cutting staff. The Fayetteville Observer, for example, is building a paywall on its website.

Last week, The News & Observer of Raleigh announced that it would cut 20 positions, including 11 in the newsroom. A week later, The Charlotte Observer laid off 26 people, including four in the newsroom. The Raleigh and Charlotte newspapers are owned by McClatchy, which also runs the newspapers in Columbia and Myrtle Beach, among others in South Carolina.

Those decisions come as both states deal with unemployment rates that are higher than the national average. In short, the Carolinas and their media are vulnerable.

Looking at the map at the Patch homepage reminded me of another map, that of William Tecumseh Sherman’s march across the South during the Civil War. Patch’s path doesn’t follow Sherman’s precisely, but it’s similar.

I only hope that Patch doesn’t do to the local media what the general said he’d do and did: “I would make this war as severe as possible and show no symptoms of tiring ’til the South begs for mercy.”

Student guest post: Writers, editors can get along

Students in J457, Advanced Editing, are writing guest posts for this blog this semester. This is the tenth of those posts. Sarah Morayati is a UNC-Chapel Hill senior finishing her degree in journalism with a concentration in editing and graphic design. She’s worked as both a writer and copy editor at various points – no conflicts.

It’s downright unsettling how many people are surprised when I tell them I consider myself both a writer and an editor. You’d think the two roles would go together. One creates words; one refines words. Just about any other two professions, randomly chosen, would have less in common.

Perhaps it’s the adversarial relationship writers and editors are supposed to have. We’ve all heard writers complain about those anonymous bullies who barge in and change their beloved words.

Mind you, it goes both ways. What editor hasn’t griped, even just once, about a particularly troublesome piece of writing — or the writer who produced it?

Or perhaps it’s rooted in stereotype. We see writers as untamed auteurs and artists; editors, by contrast, are detail-minded technicians. They’re almost irreconcilable images — one’s mind soars wide, one burrows deep.

For whatever reason, people ask questions, but it shouldn’t be so surprising. I’ve never found either writing or editing to come into conflict with the other. In fact, they’re complementary. Being a better writer helps you be a better editor, and vice versa.

The first is just common sense. When you know how something’s stitched together, you know where the seams are to take it apart.

As a reporter, you develop habits and experience. You know how stories are built, and once you write enough, you know what they generally look like.

You learn the parlance of press releases (“leading” and “solution” are up there, it turns out and the places where you tend to resort to jargon. You learn what conditions writers work under — when they rush, when they spend more time on their work. You learn which facts get triple-checked and which tend to be added in at the last minute. All this can be learned while editing, of course, but there’s no substitute for doing it yourself.

It works much the same way from the other side. As an editor, you read enough stories every night to know what works and what doesn’t.

Every day, you learn more writearounds, more lazy transitions, more prose flourishes that distract from holes in stories. You learn where corrections tend to happen and the errors you find yourself fixing most often. After enough of this scrutiny, you’ll start seeing the same in your own writing, and you’ll be able to self-edit much more thoroughly.

A couple of writers I admire do a certain exercise at least once a year: go through their prose and pick out their bad habits – clichés they resort to, words they overuse, etc. It’s much easier to do this as an editor, when you know what to look for.

It’s been suggested from time to time that aspiring reporters should spend time on the copy desk or vice versa. Logistically, it might be a disaster — try asking someone who works reporter’s hours to take a four-to-midnight  shift — but theoretically it’s quite sound.

Writers and editors share a common goal, after all: to produce the best prose possible. The skills it takes to do that are applicable on either side.

Why you should go to the ACES conference

The national conference of the American Copy Editors Society will take place March 17-19 at Arizona State University.

Editors from newspapers, magazines, academia, government and the corporate world are invited to attend. Everyone is welcome.

Here are some reasons you should be there:

  • If you’re old school, you can brush up on your skills on grammar and proofreading.
  • If you’re new school, you can learn about blogs, wikis, video and social media.
  • Either way, sessions will include hands-on training to help you be the best editor you can be.
  • Phoenix is a nice — and warm — place to visit to escape the winter doldrums of the East Coast and Midwest.
  • You’ll have access to free, reliable Wi-Fi on the ASU campus — no fees!
  • Registration rates are the same as last year and less expensive than many other journalism conferences.
  • You can bid on fun items like these at the silent auction, with proceeds going to scholarships for students interested in careers in editing.
  • Mignon Fogarty, better known as Grammar Girl, will be the keynote speaker at the Friday night banquet.
  • We’ll have plenty of fun and fellowship (and networking, if that is your thing), from the Thursday night kickoff through the Saturday night social.

Still not sure? Need more reasons? See for yourself why the ACES conference is a great event.

I hope to see you there.

May I quote you on that?

Journalists love a good quote from a source. Used well, those words can add details to the story and elicit emotions in the reader. They also add credibility because readers can see sources speaking in their own words.

Accurately quoting a source isn’t a simple task, however. People speak faster than reporters can take notes. Sources go off on tangents and speak in incomplete sentences. Tape recorders and flip cameras can help, but deadline pressure presents challenges too.

Perhaps that’s what happened with recent coverage of a college football game between UNC and N.C. State. The Wolfpack prevailed over the Tar Heels in a contest that included a failed two-point conversion that would have tied the game.

My colleague Bill Cloud detected two renderings of a post-game quote from UNC quarterback T.J. Yates. Here’s how The News & Observer quoted him:

The rival Herald-Sun in Durham also covered the game. It quoted Yates this way:

I believe that each newspaper was making a good-faith effort to quote Yates accurately. The differences here are not significant; the meaning of what Yates said is intact in each one.

Yet, these two versions of the quote illustrate the challenge of quoting a source and including those exact words in a story in context. Different people can hear different things, or they can record them differently.

Ambrose Bierce put it this way in his Devil’s Dictionary: “Quoting is the act of repeating erroneously the words of another.” I hope that I am quoting him accurately.

Q&A with Kevin Davis, editor of Bull City Rising

Kevin Davis is editor of Bull City Rising, a news blog that covers Durham, N.C., which is also known as the Bull City. Davis, a former writer and editor and technology columnist for The Harvard Crimson, works as a university administrator and lives in the Trinity Park neighborhood of Durham. In this interview, conducted by e-mail, Davis talks about writing and editing at the blog, and about the media landscape in the Triangle region of North Carolina.

Q. What is the job of editor like at Bull City Rising?

A. As with many “hyperlocal” sites and publications, I’m the owner (via Bull City New Media LLC), main writer and editor of other readers’ submission — plus interlocutor between two outsourced ad placement companies and sponsors, plus the first-line of troubleshooting if the site doesn’t work. And I have to remember to renew the PO Box once a year, too, and to get those LLC annual reports filed.

Tongue out of cheek, this is nothing new for folks at many community news  sites — or for any startup small business. In my case, BCR’s a quasi-hobby, quasi-commercial enterprise I pursue in my spare time outside of a full-time job as a university administrator. BCR takes up the mornings, evenings and many weekends.

Of late, I’ve been doing more editing of others, with three correspondents/freelancers on board or getting started; one covers general news, politics, neighborhood issues and other items of interest; a second is focused on entrepreneurship and startups, a big area of interest in Durham right now; and a third is just now starting and will focus on K-12 education.

On a typical morning, I’ll wake up and peruse the local papers and a Durham-centric RSS feed I’ve built over the years to look for stories worth aggregating into the “fishwrap,” a list of links to key news stories of the day. I’ll typically then write or finish editing one or two other stories that get set for scheduled/timed posting during the day. Evenings are for writing or, in some cases, attending public meetings to get the news for  the next day.

Apart from writing, much of my time is spent playing traffic-cop for local stories coming in from readers, PR professionals, municipal PIOs and the like. I would love to see a study comparing the number of former News & Observer and other pro-jo’s in full-time PR to the number of actual professional  journalists left in newsrooms; based on the well-crafted, attractive prose arriving in my inbox each day that isn’t in my newspaper, I’m afraid we’ve gotten the balance wrong, though few of our newly minted PR pros chose those careers voluntarily.

My biggest weakness is time, especially when demands in the real work or,  of late, with an aging parent have squeezed out what time usually goes to the site.

Q. How does story editing, caption writing and headline writing work at the blog?

A. Bloggers have the freedom to ignore the column inch; a post can run 300 words or 3,000 words depending on the inclination of the writer and the subject matter. I’ve found my readership will stick with longer, more analytical posts with significant original research, but that the temptation to be sloppy and over-wordy for stories that don’t deserve that treatment is too easy.

Certainly the quality of my site suffers from the lack of an independent, separate editor — particularly for my own stories, which unlike those of my freelancers and correspondents don’t get an independent set of reviewer eyes. And frankly, as with anyone else in the business of reporting events, news and views,  timetables and deadlines can lead to mistakes. If I’m pressed on time and run with a story without taking the time to double-check core assumptions, data and links, I’ll almost invariably screw something up.

There’s not an easy answer to that, though. Some of the latest research I’ve read on hyperlocal media throws shadows on the concept of the  university- or NFP-trained community newsroom, with dozens of volunteers providing reportage and a few professionals editing and culling in the middle. The challenge being reported in those startups is that all the journalism training in the world is great, but “citizen journalists” (a term I have issues with) in that model aren’t highly committed and tend to wander away or quit or burn out quickly. It takes a mix of passion, love for the subject matter and OCD to stick with a hyperlocal site, and that comes when you’re invested as the publisher too often.

Hyperlocal/citizen media or what have you shouldn’t replace professional, paid journalism. In communities where it does so only accidentally, and hopefully temporarily, we need to find a way to make those ventures sustainable, with enough extra eyes to provide that independent editing hand, for instance, or a true editorial-advertising firewall.

Headline writing is much more fun in blogs than in my collegiate newspaper days. The temptation for overwrought headlines is always there, though for  sites like mine that send headlines to Twitter, that service’s 140-character limit — less room for bit.ly links to the story, less room for “RT @bullcity” messages you  hope others will prepend — make for tighter text. On the other hand, the ability to write excerpts from posts that appear in RSS feeds and via Facebook gives the opportunity for a little  more flexibility and creativity, especially in trying to encourage deeper reading.

Q. You’re on Twitter and Facebook. How important is social media to what you do?

A. Ironically, I use Twitter and Facebook intensively more because readers seem to expect it and because different readers come in through different channels — regular visitors, RSS subscribers, Twitter, Facebook, search and links. Personally, despite being on the cusp between GenX and the millennials, I don’t feel like a digital-native when it comes to social media, but I am astounded at the power of those platforms to magnify and augment a story’s reach.

Not that I consider them to be a replacement for longer-form work, of course. And I do think we sometimes conflate their use as a source for vox-populi reactions to stories and raw information with the informed lens that journalistic writing should bring to a story. For me, I find them to be very important as a broadcast tool, but less useful as a sourcing tool.

In  fact, as a hyperlocalist, one challenge is that social media tends to connect people in lots of different organizing mechanisms, but place isn’t always one of them. Neighborhood e-mail listservs and message boards are still much better story sources than Facebook.

Q. The Triangle has a lot of media options — print, online and  broadcast. Where do Bull City Rising and similar blogs fit into that? And what changes do you anticipate?

At present, I see BCR as an outlet for stories that print outlets don’t cover or don’t see first. Print journalists are fewer in number, and I tend to suspect that spreading the same corpus of work over fewer reporters is deepening the bias toward press-release and public meeting-driven stories over enterprise journalism. There are exceptions, like the N&O’s fine investigative  work, but I tend to find that newspapers don’t seem to be able to sell more analytical, entrepreneurial work to their readers or  their publishers.

Not  that my site’s work always, or even often, reaches that mark, though I think there’s been times it has. But it’s a similar dynamic to that in place at the Indy: By being able to target certain key stories or areas of coverage for deeper work while  taking an aggregator strategy to commodity news, my ultimate goal over time is to help deepen the discourse on issues that really matter for Durham’s future.

Take crime news. I don’t publish stories on who’s been shot or horrible, yet easily sensationalized, events like a father’s murder of his child in rural northern Durham County a couple of weeks ago. Those stories are well-covered by print and broadcast, sometimes to the exclusion of other stories.

But I do want to look at issues of root-cause of crime, such as some of the papers coming out of Duke’s Urban Economics course each year, or at the lens of multi-year crime trends. At the end of the day, the latter kinds of stories help citizens be more informed about what we as a community need to be doing to improve public safety or to understand the reality of Durham crime versus regional stereotypes.

I think new media entrants like BCR will play a larger role in community newsgathering as traditional media channels face deeper economic pressures. That’s not to say BCR in its current, blog-esque, editorial voice-forward design would necessarily absorb a larger role per se — or, heaven forbid, that we see part-time citizen writers trying to supplant professional, paid journalism. Instead, I think websites can provide a much more sustainable model and channel for supporting full-time, paid newsgathering “without fear or favor,” as the saying goes, than can modes that have high fixed overhead costs.

Among hyperlocals, the entry of Patch into markets is quite interesting, especially since most sites like mine are immature in their advertising take currently. Patch is focused on the sub-75k population cities and is reported to bring in at least as many ad sales staff in a market as they do journalists. It’s a smart strategy: become a local hero to small communities by providing a dedicated journalist to your town, while building a regional sales staff that can (in my guess) eventually let you swoop into the major metro cores with a prebuilt metro market engine that can sell ads and hire local journalists.

But as the question has gone with university and non-profit citizen journalist efforts: Is the passion there for this to work?

Q&A with Kristen Douglas, freelance copy editor

Kristen Douglas is a freelance writer and editor in Durham, N.C., who recently embarked on a career change into journalism. In this interview, conducted by e-mail, Douglas talks about this transition and the challenges of working in online media.

Q. You’ve worked in education and mental health. Why the change to editing and writing?

A. Working in the mental health field was kind of a natural evolution for me, having grown up around mentally ill people. My stepmother owns a 32-bed facility for mentally ill adults, and I grew up in that environment. Teaching has also always been a love of mine, and I taught special education on temporary certification for a few years, as well as teaching in a welfare to work program in the midwest. In the meantime, though, I’ve always loved writing, and have written articles here or there over the years for local newspapers and other publications.

Even working in the mental health and education fields, I spent a lot of time writing and editing. I developed curriculum for a welfare to work teaching program, edited marketing materials and found that as my work in mental health gravitated more away from direct care of clients and into administrative roles, I was constantly being asked to look over progress notes, teach staff members how to write them professionally, develop and lead workshops that concentrated on writing treatment plans and other medical record documents, and edit documentation that was turned in.

I was one of many layoffs in the mental health agency I worked for in January 2010. I’d already been reading professional blogs on writing or copy editing online content, and I decided to use those skills I had always been using in the mental health and education fields to transfer to an entirely new career in writing online content rather than trying to find a lower-paying job in the floundering North Carolina mental health field.

I applied to several content-producing sites as a writer, and was hired to a few, but Demand Media seemed to fit my abilities well, and I like their work platform, so I predominantly write articles for their sites, which include Livestrong.com, eHow, trails.com, golflink, cracked.com and travel sections for several national newspapers.

After a few weeks of writing, I was invited by Demand Media to take two very stringent copy editor tests.  They don’t normally do this with new writers, but they liked the experience I’d already had editing in my former positions, and they liked my writing. I now spend about 70 percent of my time copy editing other articles for Demand and the rest of the time writing.

Q. You do much of your work with Demand Media. What is your typical workday like?

A. Being a night owl, I typically don’t get started with work until about 9 or 10 a.m., though I can flex my hours any way I’d like. Sometimes you’ll find me working at 1 a.m. if I’ve taken a break during the day to go hiking or grocery shopping.

I log into my “workdesk” at Demand and first check to see if I have any article re-writes that I need to repair. Normally my written articles are approved the first time through, but even a content editor can miss something in her own writing on occasion.

I then check to see if any articles I’ve copy edited and sent back for re-writes have returned, and I complete their edits. Once those things are out of the way, I begin choosing new articles to edit.  Demand’s writing work platform allows me to choose up to 10 article titles to write to at a time, from thousands of titles.  When copy/content editing, I see a list of 10 articles out of the thousands that need editing, choose one that looks interesting (and that I hope is well-written), and begin editing.

I check references first, before doing any editing, to make sure they’re listed properly and to skim through and make sure the content is not simply paraphrased or plagiarizing other content. Demand Media insists upon its articles containing original and innovative content, so making sure I’m a good “gatekeeper” and not allowing shoddy work or work that is just a re-hash of something else out there is my most important job as an editor.

If the references check out and the content is original and the article doesn’t need a re-write for structure, I’ll go back to line edit the article. I never line edit until I’ve checked to make sure the article isn’t going back to the writer; it takes time, and the writer might change the article enough I’ll have to line edit again.

Once editing for content, sending back for re-writes, and copy editing is done, I will either approve or reject an article. I’ve only had to reject a few outright, because I tend to become “the teacher” when sending an article back for a re-write, and I want to help the writer learn to write well for Demand Media content. I probably spend way too much time with this, because it cuts in on my bottom line pay (I’m paid per article by Demand).

Q. You don’t have a journalism degree or other formal training as an editor. What is it like to learn things as you go?

A. I’ve had to brush up on my AP style, for one. I was a bit nervous at first, because while I have many years of experience writing and editing, it has all been within the education and mental health fields.

Learning to write a “how to” article on laying self-adhesive linoleum or a “list” article on Frisbee golf courses in Washington state has been a learning experience, but it’s interesting. I’ve always gotten bored doing the same things over and over in traditional jobs, so the variety in writing and editing online content just seems to fit.

It’s the same on the copy/content editing end. I was nervous at first that I would not catch those things that needed fixing in articles that I was editing. I still worry once in a while that I’ll miss a glaring grammatical issue or allow something through that isn’t up to Demand Media quality, but I’m becoming more confident. My first performance review helped with my confidence. While I had let a few obvious errors through (like those infernal serial commas that AP style disallows), I was also told that I was doing a great job “gatekeeping” to make sure only quality content makes it through.

I still get nervous about learning to edit online content, because once it’s out there, it’s there for anyone to see. I want to make sure what I edit or write is high quality, because my name is attached to the writing — nobody can see who edited an article, but I still feel that I’m attached to the content I’ve edited in some way and don’t want it to be shoddy work.

I’m having fun, though. I was experiencing a lot of burnout in my mental health position, and I’m loving this career change. It’s hard work, and I have to pay my own taxes (and I don’t get paid vacations or sick days), but I’m much happier in my work.

Q. What advice do you have for people seeking work as a freelance editor and writer?

First, look at the experience you already have. Some people think that because they’ve worked in a particular field, they don’t have any experience writing or editing.  Check to see if you have more experience than you once thought, either through former careers or internships.

Study blogs that talk about freelance writing or editing. Avoid the blogs that are trying to sell you something and concentrate on those that seem to be just giving information. If you’re wanting to write in the online world, learn about search engine optimization and keyword phrasing.

Most of these media outlets aren’t just providing articles, they’re selling something, even if it’s just a click on an ad that appears around the article. Online content writing isn’t at all the same as writing editorials or other pieces for newspapers and magazines. You have to focus more on drawing people to your article using key phrases in your writing without making the article feel awkward.

I think I “lucked in” to the editing world. Most copy/content editors for Demand Media and other outlets have journalism degrees and have worked for years in newspaper or magazine editing. I’m one of the few who has been hired without that specific degree or newspaper editing experience, and it’s only because I had so much experience editing within my field.

Even that wouldn’t have gotten me the job, though. I got the offer to test to be a copy editor because I’m a good writer. I learned AP style, I learned to write in the “voice” that Demand Media and its outlets require by reading articles at Livestrong, eHow and the rest. I learned to check my ego at the door and write in the style that was asked of me.

That really is key. I have edited so many articles that might have been well written if the writer was submitting the work to a literary magazine or to a newspaper as an editorial, but that isn’t the “voice” that Demand Media is looking for.

Whatever company you write for, you need to learn the voice of that particular company and lose your ego about what type of writer you think you are, or find an outlet that better fits your style.  For example, I was hired by WiseGeek.com early on, but I found that I really didn’t like writing in the encyclopedic format they were looking for, so I very politely thanked them for allowing me to write with them and bowed out.

This isn’t easy – I’m still struggling to find my niche and make enough money to live well on while building my experience to a level that might get me editing or writing work elsewhere. My dream would be to work as an editor in a fiction publishing house, but jobs like that don’t come easily, so I’m content building experience for now.

Follow Kristen Douglas on Twitter and read some of her articles on eHow.com.

Editing another Edwards story

This week, The Daily Beast website unleashed an update on the saga of John Edwards, the disgraced North Carolina senator whose marriage and political fortunes evaporated amid an extramarital affair. Unfortunately, the reporting sheds little light and is, to quote George Costanza in “Seinfeld,” a story about nothing.

The Daily Beast is certainly not the first media outlet to publish a gossipy Edwards story based on anonymous sources, and it won’t be the last. Even The New York Times has fallen victim to that temptation.

Still, a discerning editor could have read a draft of this one and told the reporter, Diane Dimond, that she needed to go back out and do some more reporting. That’s what editors do, after all.

Even if the site decided to publish what she filed, some story editing is necessary. Here are some places to start regarding geography:

  • The story mentions that Edwards lives “around the Research Triangle of North Carolina.” To most of us who live here, it’s either the Triangle or Research Triangle Park. They aren’t the same thing.
  • The story says Edwards has moved out of his Chapel Hill mansion and lives in the “nearby Hillsborough neighborhood.” Hillsborough is a town, not a neighborhood, and one with a proud history.
  • The story says that Edwards’ scorned wife, Elizabeth, is considering a move to “the neighborhood known as Meadowmont, euphemistically called Wisteria Lane, where all the women are blond, perfect hostesses and drive late model Volvos.” I live here and have never heard the Meadowmont development referred to that way, and Google hasn’t either. As Stepford wives? Maybe. But not as “Desperate Housewives.”
  • The story asserts that John Edwards was drinking white wine and hitting on attractive women at either the Saratoga Grill or Sarasota Grill, but it can’t decide on the spelling. It’s probably the former.

There’s also the matter of the writing, which is frequently wretched in its excess. Here’s an example of that wordiness:

Among Hunter’s demands: That Young give up all profits from both his bestselling book, The Politician, and the movie adaptation — a deal represented by hotshot Hollywood agent Ari Emanuel and in partnership with acclaimed screenwriter Aaron Sorkin and producer Scott Rudin of No Country for Old Men fame.

“Hotshot” is sensationalist hyperbole, and “of [TV show/movie/book] fame” is a cliché. And that sentence is simply too long.

The National Enquirer famously used anonymous sources to expose Edwards’ affair and downfall. Is it possible that other, supposedly legitimate media are now willing to follow its lead of shady ethics and sensationalism to report on his travails? Let’s hope not.

Thanks to Fiona Morgan and others on Facebook for pointing out the story and its myriad problems.

Q&A with Karen Martwick, editor at Travel Portland

Karen Martwick is an editor at Travel Portland in Oregon. She’s also worked as a book editor and at Oregonlive.com. In this interview, conducted by e-mail, Martwick talks about her job, working with freelancers and the role of non-newspaper editors in the American Copy Editors Society.

Q. Describe your job at Travel Portland. What is your typical day like?

Part of what I love about my job is that there isn’t really a typical day. My work varies depending on the time of year and the needs of the organization.

We produce two magazines a year: one for the leisure travel market and one for meeting and event planners. The production cycle for the visitors guide, our flagship publication, runs from August-March; the meeting planners guide has a shorter cycle, September-November. During production on these two pieces, my tasks include story development, writer assignment and direction, consulting on art and design, line and copy editing, and, finally, reviewing layouts and proofs.

In addition to the magazines, I do a lot of other editing and writing on a daily basis. This includes writing and editing e-mails (both long-form editorial newsletters and one-off invitations and announcements); other electronic copy (Twitter and Facebook posts, promotional home page touts, other Web pages); and print pieces (event programs, advertisements, displays, etc.).

I also develop additional publications (brochures, one-sheets) as dictated by departmental needs and budgets. These projects vary widely, from writing, editing and producing a brochure for the European leisure travel market to working with a freelance writer to create a brochure for the domestic lesbian, gay, bisexual and transgendered (LGBT) market.

My next print project is updating a public art brochure in partnership with the Portland area’s Regional Arts & Culture Council. I’m also in the midst of a full content overhaul of Travel Portland’s 200-page website.

Q. You often work with the writing of freelancers. What are some of the challenges of editing their work?

A. Working with freelancers poses a number of challenges. The first is obvious, but pervasive — a lot of professional writers just aren’t very good. I try to get references from editors who’ve seen the writers’ work before it went into print, but it still takes a certain amount of trial and error to find good freelancers.

The other challenges I face are getting freelancers to write in a voice that fits Travel Portland’s brand and identity, and making their writing relevant and accessible to the given audience. For instance, most of our writers are based in Portland, and I frequently must remind them that our readers don’t live here and won’t understand “insider” references to local landmarks or personalities. In terms of voice, most of our writers successfully produce copy that falls within our brand guidelines, but I sometimes need to offer guidance when copy sounds too promotional or stilted.

Q. You worked in news at OregonLive.com. What are some of the differences of editing there compared with your work now?

A. I became a producer at OregonLive.com right out of college and worked there for six years (1998-2004). My B.A. was in English, with a minor in professional writing. In other words, I wasn’t a journalist and didn’t exactly plan to work for a news organization. That said, I was really interested in the Internet and loved the idea of actually applying my degree and writing and editing on a daily basis.

Working at OregonLive.com, I honed my headline-writing skills through packaging stories and content for the home page and e-newsletters; did a lot of research, compiling online resources on Oregon nonprofits and elections; multitasked and worked on tight deadlines, producing three unique home pages per day; edited a wide variety of blogs; and even did some real, live reporting (high school dance and football championships). I also taught myself HTML and learned a lot about information architecture and user interface design.

In my current job, I still use a lot of those online editing skills, but I also get to work on longer-term print projects, which I really enjoy. Going from Web to print may seem like taking a step backward, but I’ve found my passion in working on magazines. I also love the variety of my work and love to help non-writers produce great copy. (A good bedside manner is indispensable.)

Q. You’re a member of the American Copy Editors Society. Where do you see the place of editors like yourself in an organization that got its start with a newspaper focus?

The 2009 ACES conference was my first experience with the organization, and I really didn’t know what to expect — I just knew that I craved interaction with other editors. I came away energized, filled with practical tips and new ideas, and feeling like I’d found my people. The editors I’ve met through ACES are all intelligent, inquisitive, engaged and hilarious — just like me, if I do say so myself!

While the day-to-day work of an editor on a magazine or at a nonprofit tourism organization (talk about niche), may be quite different from that of a newspaper copy editor, we all speak the same language. We are problem-solvers. We multitask like the dickens. We have opinions on the serial comma. We thrive on deadlines. And we are passionately committed to clear communication.

I am so thankful that ACES had the foresight to include non-newspaper editors in its fold. We all have a lot to learn from each other, and the productive and inspiring 2010 conference just underscored that fact for me.

Guest post: When you can’t find the right (bleeping) words

Students in J457, Advanced Editing, are writing guest posts for this blog this semester. This is the last of those posts. Landon Wallace is a junior majoring in journalism with a concentration in editing and graphic design. He is minoring in German and spent a semester in Berlin. His career goal is to be a tennis columnist for ESPN.com.

Writer’s note: Some links contain unedited profane language.

In an interview for a UNC-Chapel Hill reporting class last semester, I found a perfect source for a story on the not-so-interesting beat of nontraditional schools. A well-respected, influential man in Durham gave me an hour-long interview, complete with his true feelings about the N.C. General Assembly after it voted to cut some funding to charter schools. At one point he said, “I think the Senate is filled with a bunch of f—— idiots.”

I was living a young reporter’s dream. That quote carried that story, and I thought it might actually create a wave of controversy in the community. (The story was never actually published, and thus it didn’t even cause a ripple, but that’s not the point.) I still remember the excitement I had from getting a solid quote with profanity, because I thought that it took my story to another level.

However, as I have transitioned to classes that focus more on the editing side of journalism, I lost the excitement for expletives. The Associated Press Stylebook instructs to leave out profanity except from direct quotes, and even in those cases, there must be a compelling reason to use it. If profanity is used, every letter after the first should be hyphenated (as shown in the quote in the first paragraph of this post).

But with the advent of online media, many news organizations have not followed the style set forth by the AP. One example is when Vice President Joe Biden’s slip-up about health-care reform from last month. A Washington Post blog favored the “[expletive]” route, and The New York Times decided to use ellipses, but the NBC video attached to the NYT article uses correct AP style.

But the issue with profanity isn’t just about the continuity set forth by major news organizations — it is about whether to use the profanity at all. The United Kingdom’s Guardian newspaper admitted in 2008 that cursing in its stories has significantly risen over the past decade. With this rise probably consistent with many online news organizations in the United States, editors now have even more difficult jobs; they must carefully weigh the newsworthiness of the quote with the integrity of the organization and the possible negative reaction from the audience.

Speaking with students and professors in the j-school here for the past week, the overall consensus here is that editors must put the audience before the shock value of profanity. One student said that although profane language might gain some attention online, it will probably offend many more in print, especially because the average age of the newspaper reader is growing older.

It’s a battle, the student said, because as young people, we want to make the world more progressive, but we can’t lose the patrons of news organizations in doing so.

Guest post: Use some discretion next time, Gizmodo

Students in J457, Advanced Editing, are writing guest posts for this blog this semester. This is the latest of those posts. David Riedell is a junior journalism major from Raleigh, N.C. He has worked on The Daily Tar Heel’s University desk for two years.

Everything with an Apple logo on it is white hot. When the first iPhone was released, people waited in line for hours to get their hands on the cool new gadget. The same thing happened a few weeks ago when the iPad came out. Nowadays, if you don’t have at least one iPod, you’re weird.

So of course it would be big news when Gizmodo paid someone $5,000 for “Apple’s Next iPhone” after it was left on a bar stool by an Apple employee who graduated from North Carolina State University in 2006. Apple’s security, as viewed by the tech-news world, is on par with Big Brother’s thought police: intimidating, sneaky and very tight-lipped.

Of course, Gizmodo’s editors would want exclusivity with the device. Of course they would want to pick it apart and let the public know what’s new. But did they really have to release the name of the poor, unfortunate Apple employee who left it at the bar?

The story, according to Gizmodo, is that a customer at the Gourmet Haus Staudt, a German beer garden in Redwood City, Calif., found an iPhone on a bar stool. After no one else at the bar claimed it, he opened up the phone’s Facebook application trying to find out who the owner was, so that he could return it later.

However, the next morning the phone was dead, presumably erased by a remote wipe. After examining it more closely, he realized that there was a fake case around the phone’s new, flatter design, to make it look like a regular iPhone. After failing to reach the phone’s owner at Apple, he ended up selling it to Gizmodo.

Once Gizmodo’s editors got their hands on it, they published an article with plenty of pictures detailing how it is different than the current iPhone. Then they published another article about how it came into their possession, complete with pictures, Facebook screencaps and Twitter updates of the Apple engineer who left it behind.

It seems that the public has accepted that Gizmodo’s new iPhone is the real deal, but there has been debate as to whether this was a humongous mistake by a hapless employee or just a publicity stunt from Apple. We don’t know if Apple meant for us to find it or if it was left by accident, but one thing’s for sure: If it was an accident, that Apple employee is in for a world of trouble.

Gizmodo, there was no reason to shove this guy’s name and picture into the spotlight at every opportunity. Assuming he left it by mistake, he’ll have an extremely tough time finding another job after he is (most likely) fired from Apple for unveiling this product early. He left his phone at a bar, an honest mistake that anyone could make, and you made it possible for Apple to publicly crucify him.