The other day, I visited my former college newspaper editor, Brian Thompson (pictured). And we were talking about this very topic. He is a phenomenal editor, who always gives his writers a lot of freedom and respects their style. Brian's also a lot of fun!
I did two internships in college, but I don't think you need them. In fact, a guy who I worked on my college newspaper with, Tom Iacuzio (pictured), got a job as an editor and reporter for the Daytona News-Journal before he even graduated.
Tom had no internships whatsoever.
The problem with so many media professionals preaching about the value of internships is what they mean to say is that experience is crucial. Internships are a popular way of achieving this, but by no means the only way.
Other Options
Working for your college newspaper and being a contributing/freelance writer for local publications can build great clips. In addition, make sure you do some stories on the city/community, so you show that you reported on news outside of your college campus. Visiting newsrooms is also nice, because you get to see how things work inside and can talk to staff members about what goes on.
College media has really excelled over the years, and their newsrooms operate just like "real" ones. The invention of the Internet has provided exploding opportunities for our generation and changed the way news is delivered. If you are writing, reporting, communicating and immersing yourself in journalism--you're gaining experience. That's what matters.
Benefits of Internships
If you can get an internship during college--spectacular. Mine were tremendous and gave me valuable newsroom experience. It also gave me strong contacts within the field who were familiar with the quality of my work. Also, if you love the newspaper and area that you did your internship at, it's easier to get a job at the same one when you graduate. Something to consider.
But if you graduate and you didn't have one, you aren't doomed.
Just ask Tom.
Location, of course! Here's a picture of where I'm moving to this week--Tucson, Arizona: As I promised in my former post, I would go into my experience with this. This post will be slightly more personal and less practical than my posts usually are. However, I hope there might be some value in it for you. Travel in General First off, domestic travel has always been close to my heart. I’ve liked my trips internationally but have always felt that there is so much to see and do on my home turf. So much variety in terms of culture and atmosphere in America. My parents always pushed travel as a value, so we would grow up seeing how different people lived and exposing us to diversity. So I spent my pre-college life taking frequent vacations all over the country. We also lived in New Jersey, Colorado and Florida, so I had a taste of each region. But beyond this, it also helped me understand what I wanted in an area, and what I didn’t. Choosing Location for College In selecting colleges, I flew all over the United States, scouting my heart out. Much like my job search actually. I wanted a small school, where personal attention thrived and my professors actually recognized the byline on my articles. In the final stretch, I had it narrowed down between Emerson, Wingate and Flagler--all intimately-sized colleges with strong academic programs. Ultimately, I chose Flagler, and I think the campus visit is what clinched my decision. It was my home for five and half years. City Versus Newsroom My point is that when I was 18, I cared more about the college (or newsroom) than I did about the location. It hadn’t struck me that a city could have an impact on the college itself. By the time I graduated from college as a 23-year-old, I understood this. So although I’m small college person, I’m by no means a small town person. I had lived in Florida for over a decade, and needed a change. To put it tactfully, I’m not--and never will be--compatible with the South., for so many reasons. So although I received plenty of job queries and more than a few job offers from Florida newspapers, I didn’t pursue a position with them. Out-of-State Job Search Let me say also that the job search becomes enormously more difficult when you’re pursuing an out-of-state position. Not only do most employers automatically trash out-of-state applications, but newspapers want you to be well-versed in the area. This is partially because that’s the community you’ll be reporting on, but it’s also because of traditional-thinking xenophobia. If you choose this out-of-state route, my advice would be to stress your ability to embrace an area and learn it quickly. Maybe even throw in that having you would be beneficial, because you’d be reporting with fresh, objective eyes. Put emphasis on your willingness to relocate, and that it‘s THEIR newspaper that brought you there. Hold Onto Your Convictions Whether location is important to you or not, whether you want to stay in state or leave, whether you like big cities or small towns--remember, it’s YOUR job search. Your goals and flexibility level may change along the way, which is fine. But don’t get conned into making decisions that aren’t your own. How you customize your criteria is completely up to you. Arizona, here I come!

Another shot of Tucson
Here's stage two of the inaugural post.
After you've clearly defined your goals and networked a bit, it's time to assemble a portfolio that reflects those objectives (if you haven't done so already). A standard portfolio consists of a cover letter, resume, references and clips--in that order.
Supplies
- Black binders (I recommend the 1-inch Premium by Wilson Jones)
- Clear sheets (LOTS)
- Resume paper (Staples or Office Maxx has a wide selection)
- Multiple black print cartridges (you're going to be photocopying A LOT) or lots of change if you're using a copier at a library or an office store
- Computer paper (LOTS)
Cover Letter
Keep it to one page. Use tight, clear sentences. Since it's for a writing position, the cover letter is an indirect way to showcase your writing ability, so write well.
The format for a cover letter typically goes:
- First paragraph--State what position you're applying for and make a connection with the newspaper by showing you know their company.
- Second paragraph--Your journalism experience
- Third paragraph--Why you're a good candidate/skills
- Fourth paragraph--Close it out and encourage a follow-up.
You can put the Objective and Summary first, if you'd like. However, I've heard that it's not good, because you need to get Journalism Experience up there as soon as possible. On mine, I cut those two categories altogether.
Put Education and Awards BELOW Journalism Experience. Remember that you're a professional now (not a student), and you want your experience emphasized instead of your education.
Finally, put Computer Skills and Other Work Experience at the bottom, and the words "References Attached" (center-aligned) as the last line.
References
Make sure your three to five references are either college professors or editors/reporters and list their titles. In addition to contact info, you might want to throw in Relationship and Years Known. Also, don't enclose mailing addresses--they aren't necessary, and they take up unneeded space.
Clips
Selecting these will most likely be the hardest part of the portfolio. You might want to customize them for each opening (i.e.-put in sports clips for a sports reporter position), so the clips are relevant to the beat. Here's five factors to take into consideration when deciding if a clip is good to enclose:
- Quality-make sure it's good writing and reporting
- Recency-you probably don't want to put in something you did a long time ago
- Location-where the article appeared in the paper
- Content-enclose articles in which the content is compelling, not too fluffy
- Variety-make sure you enclose a wide range of clips to show your versatility
Sometimes an opening will request a certain number (or number range) to enclose. If they just want to see your best work, it's upto you how many you enclose. That can be anywhere from 5-12 usually. Regardless of how many writing samples you put in, make sure your absolute best stuff is up front, as editors may not even read past the 5th one.
Costs
Alright, I don't mean to intimidate you, but I want to be honest with you--the price of assembling a portfolio can be hefty. Between the supplies, shipping and handling, you're looking at $30-$40 minimum per port. Don't be surprised if you've spent a couple hundred dollars in your first month.
In addition, it takes a lot longer than you would imagine to assemble each portfolio. I would suggest always having at least four or five spare ones around, with writing samples, resume and references already in them. That way, when you apply to another newspaper, all you have to do is customize and write your cover letter.
Also, a tip I received from the post office: If you're sending in-state, ship First Class. If you're sending out-of-state, ship Priority Mail.
Following Up
Contact the editor or whoever you sent your port to (it might be the HR director) within one week of delivery. Not one week from shipping out. Give the person a bit of time to review. When you follow up (either by phone or E-mail--I suggest doing both), make sure you verify that he or she received your package. Don't ask for an interview, ask if they got it.
Final Words
Assembling a portfolio is by far the hardest, most time-consumptive and expensive part of the whole ordeal. If you can master this stage, the job search becomes loads less burdensome. Stay positive and plug through. You can do it.
I wanted to actually meet Roy Peter Clark (he's such an awesome writer). But the workshops Poynter puts on are like a grand a pop (What's up with that? They should know journalists and journalism students aren't rich), so I haven't yet.
But the next best thing is getting his book, "Writing Tools: 50 Essential Strategies for Every Writer." In it, Clark outlines a list of 50 tips, tools and strategies for writers--as the title clearly indicates.
Since the book isn't geared exclusively toward journalists specifically, not all the advice is directly applicable to daily dealine reporting. For instance, strategies about dramatic foreshadowing, climbing the ladder of abstraction, placing gold coins (really interesting parts) along the path, and writing from different cinematic angles would best serve the novelist, a serial narrative writer or maybe a magazine writer. But not as much for the journalist, who most of the time, just has to crank the damn thing out as well as possible within a tight deadline.
I would still recommend getting it, because there's still a lot of value a journalist can take out of it. This isn't a book review though, and I don't wanna turn it in to one.
Here we go--An insightful chapter I found was his tip #22 Know when to back off and when to show off. Clark's tool of thumb on this reads:
"The more serious or dramatic the subject, the more the writer backs off, creating the effect that the story tells itself. The more playful or inconsequential the topic, the more the writer can show off. Back off or show off."
I think he hit the nail on the head with it. When you're writing about something compelling like a big political or social issue story, or really hard news, the content speaks for itself. When you're writing a more fluffy story such as a local interest feature or profile, pump up the writing and bring it on.




