Regardless of how good you are at your job, there are two tiny things that are going to get on your boss' nerves, potentially leading to a smaller raise than you would like or expect. And if there are other issues with your performance, these aren't going to help you any.



1. lateness



Punctuality is such a minor thing, but many people look at it as an indicator of how seriously you take your job. Tardiness is especially bothersome if others rely on you in order to get their own work done (hello, editorial assistants). A few minutes late here or there isn't likely to be an issue, especially in an industry like publishing, where flex time is common. But even with flex time, coming in at 10:30 is pushing it. And you should always be punctual for meetings. Lateness is often perceived as lack of respect for the job and for your coworkers.



2. personal phone and internet use




A personal phone call here or there is fine. Even checking eBay for the status of your bid isn't a problem. But it is an issue if every time your boss walks by your desk you're doing something other than work. And don't think she doesn't notice you talking in a hushed voice or quickly closing that browser window. If all she sees is you doing your own thing, she's going to wonder if you're getting your work done.

Are there any other faux pas you would add to this list?

As Strunk and White have said, "Clarity, clarity, clarity."

"Muddiness is not merely a disturber of prose, it is also a destroyer of life, of hope: death on the highway caused by a badly worded road sign, heartbreak among lovers caused by a misplaced phrase in a well-intentioned letter, anguish of a traveller expecting to be met at a railroad station and not being met because of a slipshod telegram."

To this list I would add the missed networking connection or opportunity to prove that you're right for a job because you failed to explain in an email that that's what you're looking for. "Think of the tragedies that are rooted in ambiguity, and be clear!"

Every week I receive an email or two from hopeful applicants looking for a job or an internship at my company. What astounds me is when an applicant fails to simply state that that's what he/she wants. He/she will tell me a little bit about him/herself, and will attach a resumé, but I'll be left wondering whether he/she is interested in an internship, a job or just career advice.

As the author of this blog, I also receive many queries about the magazine industry, with editor wannabes sending bios and resumés my way. But likewise, sometimes I have no idea what they're asking for. Do they want me to make an introduction? Do they think I'm a hiring agency? Do they want me to do a resumé critique? (I don't do this, by the way, so don't ask.)

Unless you clearly tell me why you're contacting me, I can't help you. And usually I won't be bothered to reply and ask you to clarify. Just like any other hiring manager, HR professional or editor to whom you're sending your resumé, I'm just going to hit Delete.

Do yourself a favour so your email doesn't end up in the trash: be clear!

On November 26, Ed2010 Toronto hosted a panel discussion and workshop on how to nail a job interview. Dishing on the good and the bad were guests Bonnie Munday, editor of Best Health; Megan Griffith-Greene, who as head of research at Chatelaine has hired many, many interns; and Jenny Pruegger of Transcontinental Media, who interviews candidates for most of the publisher's english-language magazines. Here's a taste of what they had to say.




1. Know the magazine. The most common – and stupidest – mistake Griffith-Greene sees is people who come into the interview not having familiarized themselves with the publication. The interviewer isn't going to believe that you want to work there if you haven't bothered to read the magazine. Read at least three back issues, though reading more will give you a better understanding of the topics covered and tone of the title.




2. Have examples. I'm not talking clippings here. Pruegger recommends that you arm yourself with stories of times that you've demonstrated the necessary skills. It's not good enough to say that you perform well under pressure; explain how you still got things done without sacrificing quality when the deadline was moved up by two weeks, for example. Pay particular attention to examples that demonstrate the skills that are listed in the job posting. What you did and what the result was is a good indicator of how you would react in a similar situation in the future.




3. Anticipate questions. There are some standard interview questions that you'll likely be asked, such as Why do you want to work here? Tell me a little about yourself. Where do you see yourself in five years? Prepare answers for these questions so you're not stuck with a blank look on your face or saying something not so great.




4. Be a superstar. Griffith-Greene was impressed by a candidate who pulled out a sticky-note–riddled copy of Chatelaine filled with comments when asked what she did/didn't like about the magazine. Munday was impressed by a candidate who created a mock magazine all about herself, with cover lines and articles selling her talents and qualifications.




5. Ask questions. A candidate who doesn't ask questions won't appear to be that interested in the job, but make sure what you ask is appropriate. For example, asking what kind of team it is shows that you're a team player and, if the editor is the one interviewing you, gives you some insight to how he/she values his/her staff. Asking if you'll be able to write for competitors is inappropriate, says Munday, especially if you haven't been offered the job yet.




6. Interact with everyone who is interviewing you. If you're being interviewed by a panel, respect all people in the room. If one person asks you a question, make eye contact and respond to him/her directly; don't ignore him/her by replying only to the person, like the editor, whom you think is the one making the final decision.

For those interested in coming to just the panel discussion part of Thursday's Nail It: Job Interview Workshop presented by Ed2010 Toronto, we've opened up the first part of the night to allow more people to attend.

For $5, you can Join Ed2010 Toronto for the panel discussion part of the evening on how to improve your job interview skills, with special guests Bonnie Munday of Best Health, Megan Griffith-Greene of Chatelaine and Jenny Pruegger of Transcontinental Media.

For $25, meet individually with one of these top magazine professionals for a one-on-one conversation to test out their interview advice.

Thursday, November 26
6-8pm
Northern District Library
COST:
$5 panel discussion only First come, first admitted. Pay at the door.
$25 panel discussion and one-on-one meeting Space is very limited for the one-on-one meetings, so reserve your spot today. To register, email toronto@ed2010.com for payment details. Please specify which editor you would like a one-on-one chat with and we will try to accommodate your request.

Join Ed2010 Toronto for a panel discussion on how to improve your job interview skills with special guests Bonnie Munday of Best Health, Megan Griffith-Greene of Chatelaine and Jenny Pruegger of Transcontinental Media. Then test out their interview advice in a one-on-one conversation with one of these top magazine professionals.

Space is limited so reserve your spot today. To register, email toronto@ed2010.com for payment details. Please specify which editor you would like a one-on-one chat with and we will try to accommodate your request.

Thursday, November 26
6-8pm
Northern District Library
COST: $25

Here's a blog for all you past and current interns (that's pretty much everyone in magazines, right?). U.K.-based Interns Anonymous shares the stories of interns from all sorts of industries, including journalism and publishing. Horror stories, success stories, encouragement, debate — there's a little bit of everything. And although the blog is not magazine specific, you'll find a lot to identify with. Check it out.

Most offices are stuck in cubicleland, with uninspiring spaces that lack character and don't represent the kind of work that happens there. They're not very nice places to work. And although I question the practicality of some of the elements in these spaces featured on the Business Insider, I would much rather go to work in one of these offices than in a dull corporate space.

Gawker's steampunk-style offices

The offices of Blue State Digital


ht @lavrusik via @niemanlab

Every job you have is going to teach you a little bit more about yourself — about how you like to work and what you want out of a job. You discover more about your preferences, like how you can best keep yourself organized, the types of coworkers you dislike and your strategies for dealing with them, and whether you prefer communicating by email, instant message or by phone with the person in the next cubicle (personally, I don't understand the urge to pick up the phone and call someone sitting six feet from you).

Knowing these things about yourself will likely help you navigate the work environment, help you figure out how to either adapt to systems or introduce "your way" of doing things to make improvements for everyone.

Side note: I wonder, how much do your first "real" job experiences affect those preferences? Is one inclined to think the "right" way to do something is the first way s/he learned how?

There's an excellent post on Design*Sponge today about networking (it's aimed at designers, but the informations is quite general). In it, guest poster Sara Rosso identifies four types of networkers:

    The Trendsetter: is curious and very up-to-date, and spends a great amount of time consuming and filtering information. They will be the first ones to tell you about a new idea or resource or tell you if someone else is already doing it.


    The Guru: is an expert in a particular subject or subjects with in-depth knowledge at their fingertips and can serve as a source or give an expert opinion when needed.

    The Node: is well-connected with other people and groups. Maybe this person doesn’t have any direct answers for you, but they probably know the right person who does, and is willing to pass along your need/request to help you get an answer.


    The Giver: is generous with their time, information and opinions and can serve as a person to give you excellent feedback across a variety of subjects. They are interested in helping your cause, teaching you something, or giving feedback on something you’re working on, and they are generous contacts to have.

Some people are going to be all four, or a combination of a few, or just one type of networker. What type are you? Knowing this may help you focus on and develop those skills, and make you more comfortable in networking situations.

And of course, knowing what type the people are in your network will help you figure out who to call when you're looking for specific information.

Intern. Editorial assistant. Assistant editor. Associate editor. Etc. It's a clear path, but not one you necessarily have to take. As the examples in this Ed2010 article show, if you have experience in another field and want to get into magazines, you can. The trick is to communicate how your skills are transferable and that you "get" magazines. And perhaps your non-magazine experience is a bonus that will make you stand out among all the other applicants.

A roundup of some of the things I've been reading in the last few days.

• Top five resources for folks making the transition from print to online, from Phillip Smith (via @kattancock)

• What would your copy wear? Tips on giving your cover letter the proper tone. (Hint: consider who your audience is.) From The Urban Muse.

• Wise words: "The only way to make a magazine better for the advertiser is to make it better for the reader." A sign on the wall at Western Horseman magazine. Through MrMagazine.com.

• How to persuade people (including your boss). From Smashing Magazine.

• Sometimes setting boundaries is the best way to come up with good/fresh ideas. Seth Godin on traction and friction. 

• How to blog almost every day, from Chris Brogan.

 The Canadian Living Journalism Prize just got better. The two grand prizes now each include a paid 12-week internship, worth approximately $6,500. That's about $13 an hour. I'm not holding my breath, but let's hope this inspires other magazines to start paying their interns.

Related post: Canadian Living Journalism Prize launched

If you haven't heard yet, the Canadian Writers Group and the Professional Writers Association of Canada are urging all freelancers to boycott Transcontinental over the company's refusal to make amendments to its master contract.

My heart goes out to all the editors at the Transcon publications who will have to hunt harder for contributors, or have to take on extra work to meet their deadlines. It's a horrible position to be in. Editors are the writers' connection to a magazine, and often the writers' biggest advocates, and unfortunately they are the ones who will hurt most from this action.

Transcon editors, how do you plan to cope? Do you think it will affect you much? Have you had any writers speak to you about the boycott yet? Have there been discussions in the office to develop a strategy? Will you be taking on more work yourself?

Non-Transcon editors, chime in too: how would you cope?