David Silverberg

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The biography of crime novelist Elmore Leonard inspired me with these two compelling quotes

There’s a buffet of salient lessons writers can enjoy from the new biography of crime novelist Elmore Leonard. In this fantastic chronicle of his career in fiction and screenwriting, writers can learn about determination and gutsiness, finding your voice and shedding writer’s block, of sticking up for your own work amid a throng of naysayers and  critics. In Cooler Than Cool: The Life and Work of Elmore Leonard ―A Biography of the Master of American Crime Writing by C.M. Kushins, writers can learn how to simplify writing so it’s practically invisible, as his fans have long known reading books such as Rum Punch, 52 Pickup, Get Shorty, and so much more. His dialogue crackles with the gristle of brash reality, imparting on writers the importance of imbuing characters with personalities you can smell, taste, feel. We learn why less is more with Elmore Leonard’s prose. Amid all the many teachable moments in the book, there are two sentiments Leonard shared with the biographer that resonate with me deeply: “Perfect happiness? Having time to practice craft without interruption.” “Don’t talk about what you want to do in life. Do it.” The first maxim should resonate with anyone, not just journalists, who want to excel at what they enjoy doing. It reminds me of what I recently wrote about avoiding those annoying notifications from our phones and computers, reminding us someone wants to steal our attention away from honing our craft. When Leonard sat down to write in his study, as his family bustled around the home, he ensured he had at least three hours of uninterrupted writing time. If that meant getting up at 5 a.m. so be it. It’s that approach to self-discipline and routine I try to instil in my clients when I coach them on cultivating set times to practice their craft, even if it’s just a few hours of free writing. I was thinking recently about Leonard’s writing sessions when I noticed I had been going ot my work-sharing space in Toronto for 10 years. Wow. Ten years of uninterrupted writing time at a desk away from the many distractions and lures of home-working (damn you, Pringles!), ten years of finding my island of concentration and focus. I’m not just waxing poetic here but giving you some practical advice: If you need to get in the zone as a writer or artist, and that circle of silence isn’t available to you at home, find a space where you can cultivate that atmosphere. Talk is cheap, action is worthwhile Leonard’s writing career bestows many lessons on his fans but if there’s one policy he espouses that speaks to me deeply is, “Don’t talk about what you want to do in life. Do it.” How many times have you said what you wanted to accomplish but didn’t follow through? I’ve fallen prey to the “I should” sentiments of self-improvement and finding new ways to express myself through art. And sometimes I follow through, sometimes I don’t, but reading Leonard’s biography reminds me to lean harder into the “I will” protocol of a proverb I’ve held close to my heart since high school. It’s a Buddhist saying, as far as I can research: “There is nothing noble about being superior to another person. The true greatness is in being superior to your previous self.” What Leonard reminds me is the power of being present, in the moment and in tune with the task ahead, and the potency of alone time with your craft. When I have my horse blinders on and only train my attention on the article or poem in front of me, the end result is more successful than when I keep turning to my phone or reddit tabs. Lastly, if you haven’t read Leonard’s books or watched his films, please do. They not only are engrossing and deliciously paced, but they also demonstrate the economy of language, of how we can do more with less writing. If you’re looking for a few of my faves, I’d recommend Get Shorty, Rum Punch and Swag. And if you’re on the prowl for an experienced writing coach, learn more about what I offer and contact me anytime.    

Every solopreneur should find mentors online, offline

When I first embarked on my solopreneur journey as a freelance journalist and content marketing specialist, I foolishly thought I wouldn’t get lonely or uninspired. I thought, I’m an introvert at heart, I like being alone, it’s not a huge deal, and I can inspire myself by listening to podcasts and reading books about freelancing. But lo! I did indeed get lonely, and feelings of inadequacy soon followed. Imposter syndrome often rears its head, but like Anne Lammott recommends, I turned the dial down on those squeaky voices and instead reminded myself I’m successful and skilled at what I do, and so what if someone else I saw on social is securing higher-paying gigs or winning more awards? I then realized something else: Networking is vital for me as a solopreneur. It allows me to learn from others, stave off loneliness and the associated melancholy, and offers me the opportunity to be part of a wider community. I began by networking more on LinkedIn and even Twitter, joining a few Facebook Groups/Pages, as well. This approach helped me learn the frustrating challenges other writers faced, whether that was administrative (“I haven’t gotten paid yet from this magazine!”) or technical (“I’m open to recommendations for high-quality voice recorders for my interviews”). I wasn’t alone here. But still, online is still detached from reality in many ways, and this networking didn’t feel sticky enough, if that makes sense. Recently, I began booking coffee dates with a few longread journalists I admire. These Toronto journos have written poignant and enthralling feature stories that inspire me as a writer, so much so I want to learn their approach to taking on these massive and investigative stories. That’s an area of journalism I haven’t delved into as much as shorter work, but I’d like to see if longread journalism is the right fit for me. I wouldn’t be able to glean that kind of detail with a few back-and-forth emails over LinkedIn. Being engaged and present in the moment of an in-person meeting felt more appropriate for this kind of discussion. I hope to learn from them, too, which editors they tend to pitch to and why, and how they sort through the administrative headaches that sadly make up a big portion of our work. Networking can be awkward or some folks, but I’d recommend swallowing that salty pill and finding the right mentors that can inspire you. It’ll be well worth the effort.

Introducing my new PR consulting service to help brands get media attention

I’ve been quietly working with several brands and non-profits over the past couple of years to ensure journalists and editors write about their new products, services or initiatives. I feel like it’s time to not be so quiet about it. As you’ll see on my website, I’ve added a quick explainer on what I do as a PR consultant. I liaise with CEOs, marketing managers and PR agencies to help them write and edit press releases, invigorate their media outreach programs, and train their executives on how to best speak to journalists once a story has been green-lit. While I can’t name specific company names due to NDAs, I’ve worked in sectors such as legal-tech, retail, augmented reality, e-commerce, sustainable pet food, software, SaaS, arts & entertainment, and salon/hairdressing. Media coverage is difficult to attain in this 24/7 breaking-news cycle where companies may struggle to stand out from the competition…or from the Next Big Thing making headlines. But that’s where I come in. When I was editor-in-chief of Digital Journal for more than 13 years, dozens of press releases flooded by inbox, and I quickly had to determine what was a strong hook and what was fit for the SPAM pit. I began to see why certain releases were compelling and why some fell flat. I parlayed that experience into writing engaging press releases for our own projects, such as when we launched our Future of Media conferences at Toronto’s Drake Hotel (where we sold out every quarterly show within hours). As a freelance journalist for the past eight years, I’ve also seen my share of pitches that feed my knowledge of what makes an attractive hook. PR consultancy isn’t an easy task, especially for brands seeking to gain media attention in a saturated market like Toronto. But brand managers have repeatedly told me my understanding of what makes a newsworthy article energizes and inspires them in a way they hadn’t experienced before. This branch of my business is truly rewarding, and I can’t wait to work with more organizations seeking to attract the media attention they want and deserve. If you want to set up a call to learn more about how I can help your business, email me anytime.

Are you learning from rejection?

Being turned down is painful. It doesn’t matter if rejection comes at the hands of a crush, employer or editor, the sting can be as sharp as a scorpion attack. But it’s how you learn from failure that separates the despondent from the successful. As a freelance writer who emails more than 250 pitches a year, I recognize how overwhelming it can be to remain positive amid the No’s and It’s Not Right For Us’s. But the pain lessens over time, like how a stubbed toe can instigate a barrage of cursing but eventually the throbbing ache subsides. So does hearing from an editor who rejects a pitch. But if you read between the emailed lines, you can uncover ways to lessen the chances of being turned down next time. Editors may reply to a query with, “This doesn’t work for our audience/readership.” If they don’t share any more details, figure out if your pitch was truly tailored to that news network’s audience or if you didn’t dig deep enough into the outlet to discern what made this audience unique. Remember, a pitch for BBC News will be vastly different than one for Scientific American. I have also read rejections that told me I hadn’t found a strong news hook. I knew the story was intriguing, the characters were compelling, but I hadn’t convinced editors that this article had to be written now. Going back to the drawing board isn’t entirely necessary; rather, I found some timely studies or reports to strengthen the revised pitch, and if I recall correctly, more often than not the updated pitch would be more appealing to editors and encourage more commissions. Finally, is the idea meaty enough? If an editor doesn’t say so, review the rejected pitch and spot areas that were scant on details or light on statistical evidence to bolster your theory or theme.  That doesn’t mean you have to add another 300 words to the pitch. More likely, you need to fill in a few blanks to carry the pitch over the finish line. If you have more questions about to successfully pitch editors and level up your freelance business, contact me anytime or learn more about my coaching programs.

Why I’m not worried about AI tech coming for my job

The hand-wringing is so prevalent I can practically hear the anxious breathing, the knuckles cracking, the flurry of keystrokes to fine-tune that dusty CV. Journalists are worried about AI encroaching on their livelihood, especially in the light of 2022 headlines about CNET employing AI systems to pen articles. Watch out, writers, AI is coming for you! these alarmists cry from the rooftops. Generative AI systems are poised to push me out of my journalist roost and take over editorial control to cut costs for weary publishers seeking any way to recoup long lost revenue. But I contend AI tech isn’t the saviour some media players see it to be. First, let’s be honest about something: Journalists don’t always see AI as a threat but as a complementary tool to leverage. An Associated Press survey published in April 2024 asked journalists about the use of generative artificial intelligence in their work. Nearly 70% of those who replied said they had used this technology to generate text, whether it was composing article drafts, crafting headlines or writing social media posts. Not all of us are holding up crucifix-fingers to ward off this demonic innovation. No, some of us see value in how generative AI can invigorate parts of our work, such as transcription, that we truly despite doing, and often outsource to third-party businesses anyway. So now to the main contentious issue: Should I be worried editors will choose AI systems over my own writing? Based on what I do for editors, no, I’m not losing sleep. Perhaps other writers who tackle general news reports or sports recap pieces or economic updates, they might wonder if their careers are going to plummet in the next few years. What I do for editors is something current systems can’t replicate with style and personality: compelling profiles of business leaders and artists and social activists that often are peppered with humour and unique ledes and endings. I also love writing in-depth feature reports that oscilate between time periods and engaging characters, dripping with panache and colour and details that a tech system solely off-site can’t imitate. They don’t know have intimate knowledge of interviewees met in person, from speech patterns to body language to what deodorant they’re wearing. Editors, and readers, crave those details to immerse inside a feature story. AI systems aren’t at that level yet. What I also do is write brand copy relevant to the tone and voice of the business. Yes, AI tech is stronger in this area than what I just noted above, but the words I’ve read by generative AI is so stilted and bland, with barely any style or charm. Brands might want the easiest and cheapest way to launch content marketing campaigns, but if they are solely drive by AI-written content, expect eyes to glaze over as if they’re watching C-SPAN at 4 a.m. Finally, I coach writers through my Become a Better Writer 1-on-1 programs, which AI chatbots can’t accompish efficiently. Because I tailor these workshops and exercises with a writer’s specific needs, I’m catering to their interests, not just applying a template to their projects. AI is light-speed excellent at finding random tips on writing from its source material, but can it guide a 55-year-old freelance journalist in Calgary to find story ideas specific to their communities? AI and LLMs aren’t going anywhere, so journalists and editors have to learn to live with them. But they also shouldn’t viscerally feel dejected at their rise across the industry, as the more creative of us will recognize how our value supersedes whatever Sam Altman throws our way.

Read my latest writing in the new Portfolio page

It’s about time I levelled up my website by alerting visitors to my latest journalistic and brand writing. That’s why I worked with my web designer to launch my new PORTFOLIO page on this website, which included my work for news outlets such as BBC News, The Toronto Star and Fast Company, as well as for brands such as Zapier. This Blog section used to be a home for my writing but I want to keep my insights and perspectives on freelancing separate from my latest clips. And, as always, if you have any questions about my coaching and consulting business, get in touch anytime!

The 5 mistake to avoid when you interview sources

You just landed an interview, ideally in-person, and now you’re wondering how to get the most out of your interviewee. After conducting more than 500 interviews in my work as a freelance journalist, I can attest to how important is to prepare thoroughly and learn to be a strong listener during those one-on-one sessions. But I recognize not every journalist boasts that wealth of experience, which is one of the reasons why I became a writing coach: to share my knowledge so others can benefit. That’s why I want to shed light on the five mistakes budding journalists make when they sit down to conduct interviews with folks.  Also, if you have any feedback or questions about this advice, feel free to find me on Twitter @SilverbergDave Don’t forget to research and prep It’s never smart to go into an interview cold. It might sound obvious, even to first-time journos, but you should always research your source thoroughly, knowing everything about her childhood, education, career choices, hobbies, public statements, what others have said about her, etc. Then write a few questions that you can bring to the interview. Ideally, these should be in an easily accessible notepad. More soon about the types of questions you should be asking. But coming back to that notepad… Don’t rely on your memory for moments of colour, detail Every engaging profile of someone, if that’s the article you’re tackling, includes vivid details about the interviewee. As much as you want to ensure you have the best quotes to include in your profile, you have to also embed alluring colour: How is she speaking? Quickly, deliberately, anxiously? Do her hand gestures or body movement convey anything about her feelings during a certain answer? If you’re interviewing her at her home or office (both highly recommended), what can readers learn about her through her décor or photos on the wall? That’s why you need that notepad with you to record those details. And that’s why you need a voice recorder to do the heavy lifting of capturing the entire interview, allowing your notepad to take down those colourful descriptions that can elevate your profile from great to amazing. Refrain from asking closed questions Closed questions are usually answered with a “yes” or “no.” They may come in the form of something like, “Were you happy when you left your old job to take on this new role?” That will be a yes or no answer, and will leave you with nothing meaty to work from. That’s why a better more open-ended question of that same topic could be, “Tell me how you felt when you left your old job.” She can’t answer with a yes or no there, and you’ll likely learn something about her emotional wellbeing during that moment in her life. A good rule-of-thumb is to begin question with “why”, “how”, “what inspired you to…” and “explain more about…” It’s not that you can’t ever ask questions that begin with “where” or “who”, say, but just realize you’ll be getting more factual answers than emotional answers with those kinds of queries. Don’t ask the hardball questions first If you’re writing an investigate article that requires you to ask some tough questions, your source will have her hackles up. It won’t be a breezy interview. But there are ways to get the most out of what could be a tight-lipped conversation. What I’ve found helpful is waiting to ask the really tough questions that form the backbone of the interview. When she can feel comfortable talking to you, that’s when you can go for the more important questions. So, in the beginning of the chat, opt for softball questions to ease them into the interview. Ask about her life growing up, what she found exciting about school or her first job, the kinds of books she reads, the mentors she’s had, and so on. Then, maybe halfway through the interview, lob those hardball questions. I can’t guarantee she’ll open up to you or refrain from saying “no comment” but if you’re friendly to begin with, it’ll be easier to lean towards more difficult questions that you truly want to ask. Don’t let your interviewee get long-winded I’ve faced this many times: You ask a question about X, and the interviewee meanders this way and that, talking about Y, Z and every other letter, and you’re waiting patiently for her to finally get to X…but you’re not sure how long it will take to get there. When you’re faced with a long-winded and distracted reply, it’s up to you to steer it back to where you want the answer to go. If it were up to interviewees, they could wax poetic about how great they kids are until you’re ready to leave. The more you can stay in control of the interview, the better quotes you’ll receive. One tactic I’ve used is to say, during a wandering answer, “So that’s interesting, but can you come back to my question about why you decided to take on this new job?” You’ll likely be welcomed with a smile, perhaps an apology, and then the interview will get back on track and you’ll be treated to the answer you sought. Just be respectful and polite with this kind of question. You might be frustrated by long-winded answers, but it’s still critical to realize this interviewee doesn’t HAVE TO speak to you, they’re really doing you a favour, so reporters should remember to ask these kinds of questions with patience and civility.

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