A quick word before the start of this article. I wrote this essay back in 2003 for an organization I belong to, The Association of Music Writers and Photographers. AMWP, formerly known as musicjournalist.com, is the only site of its kind, an insider's group devoted to music journalism. There are numerous sites out there that cater to professional journalists, but this is the only one devoted to people in the media who cover music. As such, the site fills a need; I recommend all serious music journalists, both practicing and aspiring, to join AMWP.
Perhaps not surprisingly, the below article seems to have filled a need also. When it initially went live, I had no idea the level of response I would receive. I have been contacted by people around the globe, some asking for specific advice and hoping for a few extra nuggets of information, others simply to thank me for my thoughts. I was shocked; had I really struck such a nerve, filled such a void? When AMWP took the article down, the flow of email stopped cold.
With the guide banished from the 'net, I felt I had to do something to once again make my article accessible. After much procrastination, I finally asked the site's administrator, CJ Chilvers, for permission to republish the piece on my site. Since he merely purchased first-time rights, he readily and graciously agreed. And so here it is, available to the general public once again.
I have not re-edited, nor expanded upon, my original thoughts since first selling this article. But I may yet do so... Ahh, best intentions. Anyway, it is my hope that people will continue to find my efforts as useful as they have indicated to me in the past. So please enjoy and do not hesitate to let me know how I could improve upon this guide. Who knows? Your thoughts may one day become a part of Version 2.0.
Thanks to everyone who has offered a kind word and, most crucially, keep on rockin'!
Andy Kaufmann
May 1, 2005
So, You Want To Be A Music Journalist:
A Practical Guide For Beginning Writers
by Andy Kaufmann
Why This Essay Exists
Many aspiring music journalists have contacted me with inquiries as
to how I got into the biz and how they too can enter this exciting world. To date, I haven't seen any practical, comprehensive guides on how to become a music journalist or what it really means to be one. Hence, I have
compiled this essay, in the hope that it will save future writers the trouble of discovering these basic concepts for themselves and set new writers on a proper path. Thanks go out to C.J. Chilvers at The Association of Music Writers and Photographers
for suggesting that I expand upon my original FAQ.
Why This Essay Exists: The Uncut Version
Many of you are probably familiar with the film Almost Famous
, the semi-autobiographical movie by Cameron Crowe about his entry into the world of music journalism. When Cameron was just a kid, he really did impress Rolling Stone
editor Ben Fong-Torres enough that he was hired under the assumption that he was an adult. The actor who played Ben did an admirable job of filling his shoes.
After reading one of Ben's books, I was inspired to
send him a sampling of my writing. I highly recommend reading his stuff, especially his autobiography, The Rice Room. Another of his books, Not Fade Away, which is a compilation of his essays for the Stone, is also fabulous. You can learn more about Ben at
his site, http://www.benfongtorres.com. I didn't
expect anything to come from sending Ben my clips, but he called me out of the blue, stating that he enjoyed my work, that I had passion and that I should keep writing. It goes without saying that Ben is on a much
higher playing field than I. Ben has won awards, been a high-profile editor and knows dozens of Hollywood personalities. I'm just a moonlighter who's chatted with some of his musical idols. There was no reason in the
world that he should have felt obligated to take time out of his day to call a writer he had never met. But he obviously felt a sense of duty in passing along his wisdom and support.
I feel that part of what it
means to be a music journalist is the practice of helping people who ask for advice. I am honored and privileged to be involved in the craft of music journalism. As such, I feel obligated to share some of the knowledge
that I have acquired. My aim in writing this piece is to answer any potential questions that new writers may have. If I've failed to answer any questions that come to mind, please don't hesitate to contact me. Questions
and comments are very much appreciated.
My Murky Past
Allow me to take a self-indulgent moment or two and talk about how I got into this racket. The truth is that I pretty much fell into writing. I
didn't even listen to music when I was a child; what was played on the radio, for the most part, didn't appeal to me, so I assumed that I just didn't like music all that much. In high school, I got into a bit of classic
rock and developed a serious passion for Living Colour. But it wasn't until college that I got a real taste of the musical world. A number of friends introduced me to whole new musical realms and music quickly became an
all-consuming passion.
By the time I graduated from Sarah Lawrence in '95, I still had no idea what I was going to do with my life. But I made the first step in the right direction when I became a street rep for
a marketing firm called Asylm. Being a street rep entails "pushing" certain acts that pay to be promoted. I handed out flyers (simple pieces of colored paper with information regarding a new album or tour dates), hung
up posters and flats (which are exactly like posters, except that they are made out of square-shaped cardboard), hand-delivered albums to local record stores and chatted up bands. I wasn't getting paid, but I got real
experience working in the industry.
It wasn't until '97-'98, that I started writing, at this point just for fun. I first wrote a couple pieces for a grassroots web 'zine called Peelmag
, which later changed its name to 360. Then I wrote a few pieces for a local music magazine called
Boston Soundcheck. Again, I wasn't getting paid, but I had my foot in the door.
Suddenly, I got my big break: a friend of mine, who had been
writing music reviews for some time, suggested I send my clips to a guy from the Microsoft Network's Rock Forum
who was looking for writers. The next thing I knew, I was arranging my first official interview. I still wasn't getting paid, but I got a serious taste of the big leagues. As an interviewer for MSN, I had the chance to chat up stars such as Bernie Worrell of Parliament/Funkadelic, Adrian Belew of King Crimson, bassist/producer Bill Laswell, Michael Virtue from UB40 and many more. It was a great experience and, more importantly, a way to build up my reputation and my portfolio.
I hadn't even searched for new writing outlets before I stumbled upon a burgeoning site called Music.com
. I sent them a few of my writing samples and, in a flash, I was getting paid to write! Now that I had some impressive writing clips, I beefed up my portfolio and
sent it to dozens of publications. From there, things snowballed and I blossomed into the seasoned writer I am today.
The Reality Of Writing
Not long ago, I had the privilege of meeting jazz critic Bob
Blumenthal. Bob started his career by doing a jazz radio program. Though he started his working life as a lawyer, he later made a name for himself by writing for The Boston Phoenix and then The Boston Globe. But what really boosted his credentials was writing liner notes for the famous Blue Note
record label, which ultimately led to his winning two Grammy awards. Needless to say, any music journalist who has a Grammy sitting on the shelf at home knows what he's talking about.
And it took Bob nearly twenty-five years before he was able to support himself through his writing.
I'm telling you this story not to scare you away from writing about music, but to give you a realistic idea of
how long it can take to earn a living in this field. The bottom line is that very few music journalists are able to support themselves simply through their writing. I know I'm unable to. Most of us have day jobs and
moonlight as writers.
That doesn't mean that you shouldn't try; even if you are unable to earn a living as a music journalist, being one can be a great stepping stone toward other jobs, both music- and
writing-related. Some people are able to combine their occupations; music journalists are often publicists, record store clerks/owners, editors and, yeah, musicians. It's a good strategy to spread your talents among
related areas. Each occupation supports the other and it maximizes your chances of getting that big break.
Furthermore, you don't need to earn a lot of money, or any money for that matter, to be a legitimate
music journalist. If you simply write for a local 'zine, you're still making a significant contribution to the world of music journalism. If you are putting in serious research time and taking great care in crafting
your stories, it doesn't matter that you aren't getting paid. Your work counts just as much as that in so-called "professional" publications. In fact, underground publications serve an important function; they act as a
risk-free testing ground for major publishers, giving them the chance to see what new styles work and which don't without needing to do anything themselves.
Consider the fate of Lester Bangs. Perhaps no music
journalist is more beloved than Lester, but he was barely able to survive off of his writing. That doesn't mean, though, that his work was unimportant. The reality is that Lester influenced an entire generation of music
journalists and his work remains some of the greatest. Remember this: Van Gogh died penniless.
The Fundamentals Of Being A Writer
It's a sad reality that the world is clogged with bad writers. Everybody
thinks they have what it takes to be a famous writer and editors are constantly inundated with proposals from people who haven't fully thought things through. This is a big waste of time, as well as a major turn off,
for professional editors who are seeking good writers. The following sections of advice will get your juices flowing and give you a leg up over writers who haven't taken the time to hone their craft.
1.
First, let's take a trip back to school and revisit our English teachers. Do you know the difference between an adverb and an adjective? Can you tell me the difference between "there", "their" and "they're"? Can you tell me how to properly use apostrophes? Believe it or not, there are reasons this garbage was forced down your throat. The elements of grammar are the building blocks upon which every writer relies. It's not good enough to just "express" yourself; your reader needs to be able to understand exactly what you are saying, every word of the way. It might help to have a second pair of eyes read over your stuff. Ask your reader to mark up your piece in red pen and be ruthless. It might hurt your ego to have your work torn apart, but it's easier to be critical of someone else's writing than it is to actually write yourself. Remember that close friends and family members may be hesitant to tell you that your writing sucks, but encourage them to be honest. Instruct them to point out every section that is confusing or otherwise difficult to understand. After all, who would you rather have see your rough efforts: a friend or an editor? Credibility is often shattered by simple errors. Don't let that happen to you! Editors hate to correct their writers' mistakes. The happiest editor is one who doesn't have to edit. There's a little book I recommend (as does everybody else in the writing world) called
The Elements of Style by William Strunk, Jr. Get it, read it and KNOW IT!
And now for something completely different.
2. Stephen King has a marvelous book called On Writing. Half of
it is autobiographical. The other half deals with the tools of a writer. On top of being a delicious read, the book is crammed with practical advice. One piece of wisdom that Mr. King imparts to his readers is this: if
you don't have time to read, you don't have time to be a writer. It's true. It's essential that you have a love of reading, as well as a love of music. You also need to have a handle on the sort of writing that sells,
as well as a knowledge of what artists are being covered and how. You can only get this sort of insight through reading. Reading will not only inform you; it will also teach you how to write. If you're going to send
your work to a magazine, you need to have a good idea of what it is they do. So read it first! Pick up a biography on an artist you're interested in. If browsing the bookstore doesn't inspire you, try out one of the
books I've mentioned in my bibliography. For that matter, you can also learn plenty by reading biographies of non-musicians, as well as watching shows like the E! True Hollywood Story
or checking out the Biography Channel. If you find yourself engrossed in the histories behind artists you don't even like, you're a born music journalist.
Still with me? Let's go on to…
3.
The writing portion of our test. Choose an album, either an old favorite or something new you've randomly decided to pick up, and write a review! You might find it isn't as easy as you thought. Writing can be a deeply lonely process and most of us experience writer's block. You need to learn to force yourself to write. It might make things easier if you have a specific writing goal in mind before you start. Can't decide on an album to cover? Have a friend or relative hand you his or her favorite. Or go to a music website and pick the first artist you see and write a profile. If you don't like the artist, all the better. You aren't always going to have the luxury of picking what musicians you get to write about. Sometimes, the music stinks! But that doesn't mean your writing is any less important; you still have to be thoughtful with your words. Also, set yourself a word limit. Publishers only have so much room on their pages, so you have to keep word lengths in mind. When I wrote album reviews for
Music.com, the suggested length was around 500 words.
Once you've bled, sweat and cried all over your computer, you just might have something worth submitting.
Congratulations! You're a rock 'n roll journalist!
If all of this is beginning to sound like too
much to handle, consider this. How much money do you spend on music? As a music journalist, you will receive lots of free albums and have the chance to attend plenty of concerts for free. If the money you would save in
free music alone justifies the time it would take you to write, being a music journalist is seriously worth considering.
How To Do It
Luckily, there aren't any special qualifications you need to become
a music journalist. You just need to have a love of music and a talent for writing. The most important part of being a writer is simply that you make an effort to write. But like any other industry, people don't want to
hire you if you have no experience. Here's how you can change that.
First, make yourself a professional-looking resume. There are many books out there that will teach how to write resumes, so I'm not going to get
into that. Let me just point out, though, that music journalism is a very informal realm. Some career counselors will stress the importance of adhering to specific formats. While understandability is of the utmost
importance, many of the normal rules don't apply. Don't get bogged down in minutiae; just be honest, professional and don't be afraid to throw in a little creativity. The same goes for cover letters. I don't even bother
with Mr., Ms. or Mrs. Not only do most people in the industry dislike formalities, but think about how bad you'll look if you get them wrong!
Next, create some business cards. This is easy enough. You can go
on-line and order these puppies within a matter of minutes and they'll prove that you're willing to go that extra step to show how serious you are about writing.
Finally, get your work published, even if it's in
a college or high school newspaper. You need to start somewhere and Rolling Stone
won't simply welcome you with open arms because you ask nicely. Luckily, there are tons of magazines out there that are looking for eager writers. Don't discount the Internet, either; the advent of the MP3 music file format has created a wealth of opportunities for writers on the World Wide Web. Web sites also tend to be welcoming toward new writers, so don't ignore them.
Once you have a portfolio, get it out there! When you're starting, you won't have lots of pieces to choose from, so you might want to include some of your writing that hasn't been published. Something is always
better than nothing. Besides, you can let editors know that they're welcome to talk with you about using the piece you've sent them. Nobody is going to come looking for you; you have to let people know you're available
before they'll ask you to write for them. So become friendly with the people at your local copy shop and don't get discouraged when you fail get a response from the people you send stuff.
Grab a magazine you're
interested in writing for and look in the front for a list of names and titles. This is known as a masthead. Along with a mailing address, phone number and fax number, you'll also see names of editors. These are the
people you want to know. It's always best to address your package to a specific person. Larger magazines will sometimes have many editors working for them. In that case, you don't want to go to the Executive Editor, or
the top dude in charge. Try sending your work to one of the Managing Editors; these people will be more likely to have time to look at your stuff and consider you. If the magazine you wish to write for doesn't entirely
devote itself to music, you want to send your package to the Music Editor or the Reviews Editor. Let your common sense guide you.
Phase Two
Once you start writing for a decent publication, you need to
ask publicists for free stuff, or "product", as the marketing people call it. This really is the best part. Do yourself a favor and pick up The Musician's Atlas or Billboard's Musician's Guide to Touring and Promotion. You can look for these in the music magazine sections
of any big bookseller. Write a short letter explaining that you are a music journalist looking for new stuff to review, including the publications you write/have written for and all your contact info. Then fax, email,
snail mail or hand deliver it to every record label listed under the A&R section of your guide. You can also find a good list of places to send your stuff at Musicmagazines.com. If you call these companies, you'll want to talk to the publicity department.
These publicists will be your new best friends. They're your ticket to meeting the subjects you want to interview, so make nicey nice, but don't over do it and be respectful of their time. Before you know it, your
mailbox will be brimming with goodies. When that happens, you'll know that you're the real deal.
Realize that many labels, especially the smaller, independent ones, don't have massive marketing budgets. Instead
of sending you CDs, videos and T-shirts (as many labels do), you may just get press releases. If you're really interested in covering a particular artist, you can always talk with your editor about interviewing that
performer and then inform the publicist that your piece has been approved. Few publicists will turn down a pre-approved interview.
Rock Star Calling
Another crucial aspect of being a music journalist is
mastering the art of the interview. Go to Radio Shack or a similar electronics store and get a device that allows you to record telephone conversations. Buy a bunch of blank tapes and you're in business. Oftentimes,
musicians will be unable to come to your hometown and meet in person. Strangely enough, musicians tend to travel a lot and work odd hours. The truth is, unless you live in New York City, most of your interviews will
likely be done by phone. That's okay, though. The artist won't see your awkward body language while you ask your favorite musician all those questions you've always dreamed of asking.
There are a number of
methods I suggest for conducting interviews. First, the key to a good interview is research, research, research. The publicist will send you material, but don't limit yourself to just that. Make sure you take a good
hard look at the Internet for additional info. Artists hate answering questions that they've already answered a million times before. Write your questions down and have them handy when conducting your interview. You may
even want to spend a few minutes of peace and quiet to study your questions right before the call. Then, once the interview is underway, feel free to abandon your questions and freestyle. Artists want to get to know you
almost as much as you want to know about them. Talking about yourself may help your subject feel at ease, but don't get carried away and relate your life's story. Allow the conversation to flow in a natural direction.
If the musician wants to talk about a specific topic, let it happen. The worst thing you can do is force the interview in a direction it was never meant to go. Once the chat is over, send a thank-you email to the
publicist and let your editor know how the interview went.
Then, before you start writing, listen to the tape and directly transcribe as much of it as you can. This can be laborious, but it's absolutely
essential. Try to be as truthful as possible to what the artist said, but leave some room to clean up the language for the sake of clarity and brevity. After you write a rough draft, go back over it and make changes.
Then do it again. Then again. Keep looking over your work until there isn't anything about it that you would change. If you can honestly look at your article and tell yourself that reads as well as an article you'd find
in magazine that people pay for, then you're done. Once you've finished writing the piece, make sure you save the tape along with the rest of the related materials. That tape will be important if you're ever accused of
slander, plus it may be worth its weight in gold if the relatively unknown artist you interview today becomes a mega pop star tomorrow.
Keep Your Ears Open
It's also important that you learn everything
you can about music. Don't restrict yourself to one genre. While many editors like to have specialists in one field or another, just as many, if not more, like to have writers who are flexible and can cover a number of
styles. It's also important that you are aware of how different musical styles intersect and think in terms of sound rather than traditional structure. If you're a rap fan, listen to some country. If you like jazz,
listen to some reggae. Challenge yourself. Hopefully, you have a speedy Internet connection and a CD-ROM that can burn music. If so, check out Emusic.com
or a similar website. Once you're a member, Emusic allows you to download an unlimited amount of music for a standard, monthly fee. This will give you the chance to sample all sorts of things you'd never be exposed to otherwise.
You also need to know the history of modern music, who the major players are both on stage and off, and a bit about musical instruments. Don't worry, though. These things can be learned as you go. There are no
official rules as to what you should know before you start writing and nothing is truly mandatory. I'm not a musician, nor do I expect to ever become one, but that doesn't lessen my love of music any. Besides, you can
never know everything. Just be honest about what you do and don't know.
A Few More Tips From The Random Bin
Learn how to edit your own work. This can take some time to really learn, but it's crucial to
becoming a good writer. Remember that any language that isn't necessary should be thrown away. Be ruthless! Of course, there are those writers, music critic Richard Meltzer for one, who just throw a bunch of words on a
page and never look at them again. That's a legitimate form of writing, but it probably isn't the most profitable. I believe in rigorous reediting. You might find it helpful to develop a habit of writing a draft, taking
a break and then coming back to your work with fresh eyes.
Take, for example, two of the world's greatest fiction writers, C.S. Lewis and J.R.R. Tolkien. As members of a tight literary circle called The Inklings,
they would read each other's work and offer suggestions. Lewis would write single drafts that he would promptly send off to his publisher. Tolkien, on the other hand, struggled for years and years to perfect his
writing, ultimately making The Lord Of The Rings
trilogy his entire life's work. I tend to subscribe to Tolkien's philosophy of working on a piece until it is "perfect," especially when you're operating as your own fact checker, but that doesn't mean that you
need to write that way. Find the method that works best for you.
There's also this thing called a spell check. It's there for a reason. Just in case you needed a reminder…
Also, learn how to write for a
particular publication. Remember what I said about reading a magazine before you submit your work? You don't want to propose a lengthy Q&A (question and answer type interview) to a publication that just does record
reviews. Checking out a magazine will also give you a sense of how long the average piece is and what style of writing they prefer. Some places even have writers' guidelines; taking a look at their website may prove to
be enlightening. This sort of info will really give you a boost in your search for writing outlets.
The last crucial element to being a good music journalist is knowing how to be friendly and responsible. You'd
be amazed how much these qualities are appreciated and how far they will take you. Thank editors for staying in contact with you. Thank publicists for sending you stuff you want. Pay attention to editors when they ask
you to follow a certain style. If an editor gives you a deadline, stick to it! Know how to couch your criticisms as constructive advice or learn to bite your tongue altogether. Things can change awfully fast in this
business and positions are often filled by word of mouth. Stay positive!
Taxes
When you start making money, you'll need to declare your earnings. Be sure to keep all of your receipts; that goes for
blank tapes, your recorder and mailing as well as portfolio copying expenses, for starters. If you don't have one already, you may want to get a good accountant who can do the hard work for you. If you're a freelancer,
you're going to have to pay a self-employment tax as well, so keep that in mind when calculating your earnings.
Where To Go For Help
The best support group I have found is The Association of Music Writers and Photographers. I
particularly recommend joining the news group, where you can post questions in an open environment and really expose yourself to the thoughts and opinions of professionals all over the globe. The Internet is, indeed, a
wonderful thing.
That's it! You should now be well on your way to fame and fortune. Well, maybe fame. There's no better high than getting to personally know an artist whose work you admire or seeing your byline
(that is to say, your name!) in a publication you used to merely read. And make sure that you enjoy yourself, because that's what this gig is really all about.
No music journalist is complete without a healthy library. Below are just a few of my recommendations.
Resources
King, Stephen. On Writing: A Memoir of the Craft. Scribner: New York, 2000.
As entertaining as it is helpful, this quickie read offers loads of practical advice for the aspiring writer.
Strunk, William, et al.
The Elements of Style. Allyn & Bacon: 2000.
A vastly important resource for any writer. While it might not be very good beach reading, this will be invaluable when you're stuck on the best
way to phrase something. Remember also that a dictionary and a thesaurus are essential.
Biographies
Dannen, Fredric. Hit Men: Power Brokers and Fast Money Inside the Music Business. Vantage Books: New York, 1990.
A fascinating look at how corruption and the mob have both controlled and made invaluable contributions to the world of modern
music.
DeRogatis, Jim.
Let It Blurt: The Life & Times of Lester Bangs, America's Greatest Rock Critic. Broadway Books: New York, 2000.
A delicious biography of the
reclusive writer Lester Bangs and a wonderful tale of how the author simply used the right approach to get access to his boyhood idol.
Feiler, Bruce, Dreaming Out Load: Garth Brooks, Wynonna Judd, Wade Hayes, and the Changing Face
of Nashville. Spike: New York, 1998.
An engrossing account of three country stars and their very different paths. Excellent insight into the power
plays that account for what gets played on the radio and what doesn't.
Hopkins, Jerry; Sugerman, Danny. No One Here Gets Out Alive: The Biography of Jim Morrison. Warner Books: New York, 1980.
This short
biography gets behind the real story to the lead singer of The Doors, exposing the often-ugly personality behind this charismatic tour de force.
Vincent, Rickey. Funk: The Music, the People, and the Rhythm of the One. St. Martin's Griffin: New York, 1996.
Except for his inexplicable overuse of the word "swanging," this comprehensive look at the genre of funk is written exceptionally
well. Able to make brilliantly insightful connections between generations of artists and their different styles, Vincent makes explicit the importance of funk in modern music.
Music Journalism
Bangs, Lester. Psychotic Reactions and Carburetor Dung. Vintage Books: New York, 1987.
Edited by the overly intellectual music journalist Greil Marcus, this is the only widely available compilation of the works of
Lester Bangs. A thoroughly enjoyable, hysterical read.
Fong-Torres, Ben. The Rice Room: Growing Up Chinese-American – From Number Two Son To Rock 'N Roll. Plume: New York, 1995.
This autobiography does an exquisite job of telling its story. The Rolling Stone editor weaves a terrific tale about coming of age in flower power America.
Meltzer, Richard. A Whore Just Like The Rest: The Music Writings of Richard Meltzer. Da Capo Press: 2000.
This massive tome offers up tons of whimsical, stream-of-consciousness scribbles that usually begin with music as a reference point and then
quickly proceed to shoot off into every possible direction.
If you've enjoyed this article, or have something to offer, either in the way of constructive criticism or a suggestion for how future versions of
this piece could be expanded, please do not hesitate to email me at: andy.kaufmann@comcast.net. Your opinion counts!
© 2003 Andy Kaufmann. All rights reserved.