I got this in the mail the other day. It was a huge surprise. I am trying not to get too excited about it, but after the hard work of setting up a recent event, I thought it was OK to enjoy it for just a moment.
If you haven’t been to a Long Story Short at 3S Artspace, you must check it out. The people who have been gracious enough to take the stage and be a part have told very funny and touching stories. Thanks so much to them and 3S Artspace for making this an event that has garnered notice.
I’ve been pretty excited by what I’ve been seeing in my neighborhood lately. Down the street from my house is the new home of Great Rhythm Brewing Company. In fact, I can see their new HQ from the window of my office as I write this. I’m a big fan of pale ales, and Great Rhythm’s Resonation Pale Ale has been a solid go-to beer in our house for a while now. The tasting room is opening “Summer 2016,” and I expect I’ll be there quite a bit.
A short flight at Liar’s Bench Beer Co.
Flying a little more under the radar is Liar’s Bench Beer Co., a nano-brewery based in an old plumbing parts warehouse on Islington Street — and just a quick jog from my house. I happened to be around the day it opened, working hard to repaint practically every surface in my home. What goes great after a hard day or working around the house? A beer.
We sampled all four taps. I liked the John Grady Kolsch (5% ABV, 21 BU), a smooth, light brew that efficiently took the edge off of my post-painting sore muscles. My husband and I were also fond of the Bitter Lad, a “New English ESB” (5% ABV, 30 BU), a traditional British beer with an infusion of American hops — a perfect mix of malty and bitter. We took a growler home of that one.
I also have to give props to Topanga (6.5% ABV, 50 BU). Yes, it’s named after the “Boy Meets World” character and yes, it’s an IPA. Creative beer names can get tiresome, but it’s hard not to love this reference, or this beer.
The space is open, hip and re-purposes the industrial space well. Think Oxbow in Portland, Maine, only much smaller and more natural light. Confirmation from the owner the tasting room is kid-friendly was happy news, as the mother of a 3-year-old. “Come on, sweety. Let’s walk down to the brewery for a visit.”
I always tell people the key to being a successful freelance writer is never say no to a project (unless it doesn’t pay, or doesn’t pay well). I realized the other day I don’t actually have much evidence to prove this, since I haven’t said no to an assignment in a really long time. This might explain why I was out the door early on a Saturday morning to be in Manchester to cover the 2016 Aspirations in Computing Awards.
This event was fun and easy to cover, and featured a crew of talented and smart young women trying to figure out what to do with their lives — plus a trip to Whole Foods right down the road made this worth giving up my Saturday morning.
It’s 9 a.m. on a Saturday morning and instead of sleeping in, fifteen young women were in the lobby of the University of New Hampshire at Manchester trying to figure out how to build the tallest tower they could out of few pieces of dried spaghetti, a marshmallow, a strip of masking tape and string.
The activity was an icebreaker for the recipients of the 2016 National Center for Women in Technology (NCWIT) Award for Aspirations in Computing, a national initiative to honor young women at the middle and high-school level for their computing-related achievements and interests. The Aspirations in Computing Awards Event, held on May 14, was a half day of activities that provided an opportunity for young women from New Hampshire, Maine and Vermont to interact with students faculty and industry members in the field of technology. The awardees are selected for their computing and IT aptitude, leadership ability, academic history, and plans for post-secondary education. The program provides opportunities for young women to find internships and earn scholarships, including a $1,500 award to UNH Manchester for NCWIT awardees and a $1,000 award to NCWIT participants.
To read more go to UNH Manchester Campus News.
The March installment of Long Story Short was out most successful yet, with more than 100 people coming out to 3S Artspace. As an organizer who also has a full-time job, a small child and freelance writing pitches to craft in my spare time, it’s been a bit of a challenge organizing and promoting Long Story Short. Thankfully I was approached by Patrick Gale, who was interested in recording the event and putting it out in the form of a podcast, called Long Story Shortcast. You can listen to Episode 2 here, which features Erin Laplante, Larry Clow, Rachel Forrest and Laura Cleminson, or go to Soundcloud for all the episodes.
The next Long Story Short will be on May 16 at 3S Artspace. The event will be a joint storytelling night with Portsmouth Community Radio’s True Tale Radio, with the theme, Find Your Voice. You can get more information and tickets here.
The final person on my list of freelance writing advisers is Larry Clow. Like me, he got his start writing for a local newspaper and is moving on this spring to pursue freelance writing for real. He has worked as a reporter and newspaper editor and has a memoir in the works. I emailed him about his thoughts on writing and editing. Here is what he sent me.
Larry Clow, author, editor of The Sound, freelance writer
What kind of stories does The Sound look for?
The Sound is always looking for Seacoast related stories — that’s the first question I ask writers, in fact: What’s the Seacoast connection.
Generally, our focus is on arts and cultural events, and a lot of our stories preview upcoming events — shows, film screenings, author readings, plays, etc. But we also print news and feature stories, too, and so I’m also always looking out for topical news-y features about things happening in the region, or maybe national topics that could have a local angle.
Does it accept stories from writers just starting out? If so, how do you like to be approached in that case?
We do accept stories from writers who are just starting out! I like new writers to send a brief pitch describing their plan for the story and some potential sources, and I also like to see one or two writing samples, so I can get a sense of the writer’s abilities. Email is always the best way to send pitches to us; since we’re a small staff, there’s not always someone in the office.
What are you looking for in new writers?
I’m looking for writers who know whatever topic it is that they want to cover, or, at the very least, know who they need to talk to so that they can know about their topic. Not everyone is an expert about whatever they want to write about, but I at least need to see that a writer’s willing to do the necessary research for a good story.
And, of course, I look for reliability and consistency — meeting deadlines, responding to emails, turning in relatively clean copy, that sort of thing.
What are some ways writers can show they are serious (have ideas for art, name possible sources when approaching you, etc)?
Emailing me with a decently fleshed out pitch, with some possible sources and details about art/photo opportunities is HUGE. That alone automatically sets a writer apart.
Another big factor: If the writer demonstrates in some way that they’ve read The Sound and are familiar with the types of stories we publish. One writer recently pitched me a story that was (A) about an event he was organizing — already a big no — and (B) was taking place on the other side of New Hampshire — another clue that he hadn’t seen that we only write about events in the Seacoast. Conversely, another writer recently sent me an email with 4 short pitches; each pitch included a brief description of the story, why it was locally relevant, why it was timely, a handful of possible local sources, and, in two of them, a reason why this writer was the best person to write the story. Needless to say, I immediately accepted one of the pitches (it was for this story: http://soundnh.com/taking-root/)
What are some of your writer pet peeves (turning in stories late, spelling errors, etc)?
My number one pet peeve is emails that I call “non-pitch pitches.” Basically, emails/messages/phone calls from writers who don’t have a specific pitch, but are just contacting me because they’re interested in writing. This drives me a little crazy, and it’s something that, when I was first starting out as a writer, I thought was a totally jerky thing that editors would say. “Why wouldn’t editors want extra help?!” I thought. Now, I see why — it’s extra work for me to come up with story ideas for writers I don’t know, when it’d be far easier for me to simply assign stories to writers I know who can do them. I appreciate the intention, but it drives me nutty.
As a writer, do you do any freelance work? If so, what kind?
I do! Right now, all my freelance work is for the University of New Hampshire, where I write features for The College Letter, a monthly publication from the College of Liberal Arts, and the UNH Magazine. I’m hoping to expand that soon — I’d like to start pitching stories to some larger regional and national publications.
How have you been able to build relationships with editors to get published?
I have, and it’s largely been through personal networks. My UNH jobs came by way of a professor I worked with in the English department while working on my MFA. For three years or so, I did regular work writing policy stories for Child and Family Services of NH’s quarterly newsletter, and I came to that job after meeting their communications coordinator at an open house event.
I stay in touch with my two UNH editors regularly, either pitching them stories or checking in to see if they might have a story that needs to be picked up. (That’s another good reason to know the publication and it’s schedule — for example, if my editor at the magazine passes on a feature pitch, I know that she still assigns some short, 600-or-so-word alumni profiles for each issue.)
Do you ever submit pitches to editors you don’t know and if so, how did that work?
I do, though not as much as I’d like. I’ve pitched a couple times to Dispatch, an arts/lifestyle magazine in Portland, Maine and was successful, but I haven’t had much time to pitch them lately.
My most ambitious pitch was a feature for Yankee Magazine. In that case, I wrote my pitch and got some feedback on it from a friend who’d recently sold a story to Yankee (she also tipped me off about which editor reads the pitches, so I made sure to send my pitch to that person and not the general editorial email account). The editor passed, unfortunately. I’ve got another idea I’m working on a pitch for, though, so maybe this one will be successful.
I like to interview a few freelance writers and editors each year for my workshop to give me a more comprehensive view of what’s happening in the freelance universe. I’d come to know Erik through a mutual friend and his excellent Instagram account. He is an editor for ZEST Magazine out of Portland, Maine and has ample freelance writing experience. I emailed him a few questions about his roles on either side of the editor’s desk. Here are his answers.
Erik Neilson, editor ZEST Magazine, freelance writer
What advice would you give to freelance writers trying to break into a new publication?
Take as much time as you can to internalize the publication through and through. Read back copies, pay attention to what they’re doing on the web etc. This is the only way to be sure that the pitches you structure will be a good fit; otherwise, you’re throwing darts blindly and hoping something sticks.
How much success have you had pitching editors you don’t know personally?
It’s always harder at first, but once you actually get in the door with a piece, you have the opportunity to establish that personal relationship with an editor and maintain it over time. Persistence is a big part of the initial push, as is having a portfolio that will make the person do a double-take on you.
How much of your publication is written by freelancers?
ZEST is entirely freelance; we don’t employ any staff writers.
What are editor’s looking for at your publication?
Our editorial calendar is pretty far out; we’re working on September/October now. We always ask that writers keep this in mind when pitching and also look at the sub-sections that tend to be static throughout each issue. As our niche is fairly specific (Maine Food and Drink) but also open, we’ll hear any pitches that fit the format.
How much does a story pay at Zest?
For seasoned writers, $0.50/word.
I like to interview a few freelance writers and editors each year for my workshop to give me a more comprehensive view of what’s happening in the freelance universe. I met Nick at my storytelling event, Long Story Short, where he told a fantastic story of a woman he met working in an Alzheimer’s unit. Hearing that he had done some freelancing, I shot him a few questions. Here are his answers.
Nicholas Conley, author of novel Pale Highway and has written for Vox and Alzheimers.net
You have published a novel and written some freelance writing pieces. Did the novel come first or the articles?
I’m a novelist, first and foremost, though my first writing publications were actually short stories, which allowed me to get a better idea of how the publishing process works. Writing articles really began when I was first getting ready for the publication of Pale Highway, a novel which deals with Alzheimer’s disease. Because this is a subject that I have real life experience with, I felt a strong desire to write articles relating to the subject of Alzheimer’s care in order to spread more awareness about what it’s really like. After having success getting these pieces published, my article writing work branched out into a general interest in writing about topics that I feel are important and worth discussing, with an emphasis on healthcare.
Once you had written the novel, do you feel it was easier to get the interest of editors?
Absolutely. Having a list of publications to my name allows editors to look me up, see what I’ve published, and have a pretty good idea of what I’m about. In addition, it demonstrates a proven track record.
How important is it to have a niche, would you say? For instance, you write about alzhiemer’s disease and can show you have first hand experience with patients. How important is that to an editor would you say?
It definitely helps, especially when starting out. Editors want to know not just what the article is about, but why you are the person who should write it. In addition, when getting future pieces published, it helps to have demonstrable evidence of your expertise in a given subject, as you can include clips of prior articles with your query.
Do you write pieces first and then shop them around? Or do you pitch ideas to editors and write based on their feedback?
I do both, depending on the length and complexity of the piece. I personally prefer to write pieces first, because then I know exactly what I’m working with, but I often do pitches as well. If one is pitching, think the biggest priority to keep in mind is having a strong idea from the outset about exactly what one is going to write about, how one is going to write it, and a general idea of how long it will be.
How successful have you been in regards to pitching stories? I would say I have a 75% success rate with editors I know and a 0% success rate from those I do not. How about you?
Great question! It really varies depending on the subject. My success rate has gone way up in this last year since the publication of Pale Highway, and since my articles appeared on Vox, Alzheimers.net, and so on. However, back when I was just pitching short stories, I had a long list of hundreds of rejections. It’s really all about perseverance; pretty much every other writer I’ve met has more rejection stories than I can count, and it’s those rejections that will act as the building blocks of your future success.
NOTE: My most amusing rejection to date was back when I was 18, when I accidentally pitched a story to one magazine’s submissions address… while in the query letter itself pitching it to a different magazine. The editor made a point of mentioning that he was pretty sure I’d submitted to the wrong publication — but that “even so, this story is not what we’re looking for.” Quite embarrassing!
Portsmouth Brewery Royal Impy Stout and California Common
It’s been more than a year since I toured the new Smuttynose Brewing Co., facility with Peter Egelston. I got a look at the plant just before they began production and way before the new restaurant, Hayseed, had opened. This research resulted in the article below, featured in the industry magazine, Market Watch. I was impressed with Egelston’s openness and the facility’s high-tech approach to beer making. We discussed how technique and technology influence the beer’s flavor, other endeavors like the Portsmouth Brewery, as well as some business philosophy. The story is only available to me in PDF, so make sure to click through to read the rest.
With the opening of a new facility in Hampton, New Hampshire, Smuttynose Brewing Co. aims big while maintaining its craft character
When Smuttynose Brewing Co. finished the first of-the-art brewery in Hampton, New Hampshire, at the end of February, it wasn’t just an inaugural run on new equipment. This batch had been nearly 10 years in the making. Smuttynose founder and president Peter Egelston began searching for a new location in 2004 to replace the original 25,000-square-foot Portsmouth brewing facility, an inefficient, dark and cramped space tucked away in the depths of a light industrial development. Egelston’s first choice was a crumbling riverside mill building in nearby Newmarket, a popular off-campus hub for college students attending the University of New Hampshire. He approached the town leaders and was welcomed with open arms—at first.
Read the rest of the story in PDF form here: MW0414_smuttynose
Opening night in the gallery at 3S Artspace in Portsmouth
Sometimes I’m inspired to write about a subject because I think editors will love the idea, or that it will gain lots of reader interest. But sometimes I write about a subject because I am legitimately curious. Last winter, I toyed with the idea of starting a non-profit that would support creative freelancers like myself throughout the northern Boston-metro area. What better way to fund my research than to write a story about the risks and rewards of launching a non-profit?
I learned there are many dedicated people in this state giving their time and gallons of sweat equity to do things that no sane business owner would touch. That includes 3S Artspace, a newly opened gallery, performance space and restaurant in Portsmouth, which I used to open my article. I also learned I don’t have the patience, political capital or connections it takes to start my non-profit idea, which means I’ll be freelancing in my home office for a little while longer.
Here’s my latest piece, featured in New Hampshire Business Review’s March 5 issue.
The learning curve is daunting for those launching a nonprofit organization
“My mom would tell you that I’ve been talking about 3S – in one iteration or another – since I was about 15 years old,” says Chris Greiner, executive director of 3S Artspace, a performance space and gallery now under construction in Portsmouth. “I’ve always wanted to be a part of establishing a gathering space and cultural hub of some sort, whether it was an arts center for teens, a bookstore cafe, or the multidisciplinary arts space that I eventually landed on.”
The idea started in 2005, and by 2009 Greiner had organized a group of friends and mentors to serve as a fledging board of directors, including an architect, an attorney and a local business owner. Greiner left his job to pursue 3S Artspace full-time, and by March 2011 it was incorporated as a New Hampshire nonprofit with federal 501(c)(3) status. This spring, 3S Artspace will complete construction and open its performance space, art gallery and restaurant in the city’s rapidly changing Northern Tier.”
To read more, please go to the New Hampshire Business Review website.
I wasn’t covering the UNH Career Fair last October for anyone. There was no story due in the hours that followed and I certainly wasn’t getting paid. So why did I spend 3 hours out of my day and a couple bucks in parking to attend? I needed some business story ideas.
Finding story ideas is one of the hardest parts of being a freelance writer. I’ve been getting better at it, largely by focusing on publications I’ve worked with in the past. I ask them straight up — what are you looking for? Editors always have a wish list of stories they’d like to publish but don’t have the staff to do it. Simply asking them to share that wish list with you is a huge step toward landing a story with them.
Attending networking and trade events is a tool I’ve used lately in better meeting editor’s expectations. I’m not pitching the event as the story, but instead am contacting the editor before I go and asking him or her — if I were to go looking for story ideas, what should I keep an eye out for? This gives me a list of questions to ask people at the event and helps get me closer to finding a subject worth writing about.
I got the idea for this piece for New Hampshire Business Review after attending the UNH Career Fair last fall. I didn’t pitch the event as the piece, but instead called the editor beforehand letting him know I would be attending and talked about some potential stories that could come out of it — who’s hiring, who’s growing, what majors are in high demand? I got some suggestions from the editor and headed over.
As is often the case when walking into a room blind, what you expect to find and what you actually find when you get there don’t always line up. I spoke with plenty of representatives from out-of-state companies, but didn’t find many local, innovative companies. And then I came across On Call International, a swiftly growing company with a unique business model based in Salem, N.H. I pitched a story based on the editor’s recommendations and landed an assignment.
Attending these events can sometimes be a gamble and don’t always pay off, but I’ve more often than not, I can come up with something an editor is willing to bite on if I look hard enough. You can read a portion of the piece below.
Keeping cool heads during a crisis has been On Call International’s mission since its inception nearly 20 years ago. It’s a trait that has served its customers well, helping them navigate their way out of foreign jams big and small. It’s also a trait that has helped the company through some rocky times, bringing On Call International from the brink to recognition as one of the fastest-growing companies in the country.
The travel risk management firm provides a wide range of services for travelers both in the United States and abroad. Whether it’s a medical emergency, an arrest or a lost passport, On Call works with officials and medical staff on the ground wherever the client is located to resolve the situation, sometimes traveling to the customer to bring him home.
Last year, On Call International fielded 500,000 incoming and outbound client calls, and 300,000 emails to and from clients. The company brought home the remains of more than 300 people and sent 400 private jets and air ambulances – equipped with a rescue nurse and medical equipment – to locations around the world to bring clients home.
Gardner State 