ASJA Direct Podcast

ASJA Direct: Inside Intel on Getting Published and Paid Well, is a newly launched podcast that is curated and hosted by Estelle Erasmus, a longtime ASJA member and 2017 New York City Conference Chair. 

The focus of the podcast, a members benefit,  will be on the craft of writing and pitching and all it takes to be a successful freelance writer. Guests will include editors, writers and authors with surprising success stories from articles that went viral, and more. It will also include submission opportunities and tips for submitting to magazines and websites. Estelle will also write about her guests on her award-winning website and on twitter. Nonmembers will be able to download the podcasts after a period of time for $24.99 in the ASJA Store.


To submit a question for a speaker, please follow the link found here.

2018 ASJA Annual Conference Preview

In this free podcast (for members and nonmembers), Dorri Olds, one of the three #ASJA18 conference co-chairs, (the others are Carolyn Crist and Nancy Dunham) gives Estelle Erasmus, an overview of the upcoming conference in NYC on May 18-19, 2018. To sign up for the conference, go here. In the podcast Dorri reveals:

* The breakdown of each track for the conference, under Navigate, Motivate, Captivate
* Info on how they chose the three keynote speakers this year (Aimee Ross, Daniel Jones, Katherine Reynolds Lewis)
* The most anticipated sessions?
* The biggest editors participating in sessions
* Volunteer opportunities for conference attendees 
* What newbies can do to make the most of the conference
* Advice from each conference chair on how to maximize your conference experience

Click here to access the recording and show notes

Margaret Guroff is an executive editor at AARP The Magazine, and a former editor of Baltimore magazine. She is also the editor and publisher of Power Moby-Dick, an online annotation of Herman Melville's classic novel. Her cultural history book, The Mechanical Horse: How the Bicycle Reshaped American Life, was published in 2016 by the University of Texas Press.

Click here to access Margaret's recording and show notes.

In this podcast, Margaret Guroff,  Executive Editor of AARP talks to Estelle Erasmus about:

* AARP and her role there
* The all- important demographic of her reader (it’s not always what you think)
* What she looks for in a submission or pitch
* Does she take pitches?
* How to contact her/AARP
* The stories she is clamoring for
* Word count, rights and payment
* Editor pet peeves
* How the editing process works
* How to contact digital
* What’s next for AARP

Follow Estelle Erasmus on Twitter and on Facebook


AARP Writer's Guidelines
AARP Editorial Calendar
Subscribe to AARP Magazine

Tyler Moss is editor-in-chief of Writer’s Digest, a national magazine for professional and aspirational writers that has celebrated the “Writing Life” since 1920. While at WD, he’s interviewed such notable authors as George Saunders, Andy Weir, Scott Turow, Rainbow Rowell and Heather Graham.

Before WD, Tyler was the online editor of Family Tree Magazine. He is a regular contributor to Conde Nast Traveler, and his articles have been published by The Atlantic, New York, Outside, DRAFT, Salon, MentalFloss, Atlas ObscuraPasteVICE, Playboy and more.

Click here to access Tyler's recording and show notes.

In this podcast, Tyler Moss, the new Editor-in-Chief of Writer’s Digest talks to Estelle Erasmus about:

* The mission of Writer’s Digest
* What he looks for in a submission or pitch
* Does he prefer a completed piece or a pitch?
* The best way to contact WD
* His favorite topics to cover?
* What he’d like to see more of in the publication?
* Opportunities for freelance writers to break in
* Payment and rights
* His pet peeves as an editor
* What makes a must-read article
* Exciting news for Writer’s Digest

Click to subscribe to Writer's Digest
@WritersDigest on Twitter and Instagram
WD New podcast
Twitter: @tjmoss11

Kyle Pope is Editor and Publisher of the Columbia Journalism Review at the Columbia University Graduate School of Journalism. Before joining CJR, he held top posts at The Wall Street Journal, where he spent a decade as an editor and foreign correspondent, at Cond√© Nast, and at The New York Observer. His work has been published in The New York Times, The Los Angeles Times, The New Republic and elsewhere. In the summer of 2017, he testified before Congress's Judiciary Committee on threats to the press.

Click here to access Kyle's recording and show notes

In this podcast, Kyle talks to  Estelle Erasmus about:

* The origin of CJR, it's reader's demographics, and it's mission.
* Opportunities for freelance writers (including payment)
* What he looks for in pitches and how writer's can contact h im.
* His main role as editor/publisher.
* The state of the industry, and whether he thinks publications will eventually all go digital
* His thoughts on the repercussions from the tariff on out-of-country newsprint
*Advice on what freelance writer organizations (such as ASJA) can do to protect free speech
*His feelings on "Fake News" and Facebook
*The future of longform journalism

Find CJR on twitter and subscribe to the CJR podcast here

Beth Dreher is the Features Director at Woman’s Day magazine, a publication that reaches millions of readers each month. As a nearly 20-year veteran of the media industry, Beth knows how to craft compelling, inspiring stories and essays that capture the attention of a diverse audience. Her writing has appeared on BuzzFeed and in Reader’s Digest, Runner’s World, and more. Beth holds a master’s degree in English from the University of Alabama, Birmingham. 

Click here to access Beth's recording and show notes

In this podcast, Beth Dreher talks to Estelle Erasmus about: 

**Opportunities writing for Woman's Day magazine (print)
*History of the publication
*What she looks for in article pitches
*Sections ideal for freelancers
*Payment information
*A day in her life as an editor
*The types of personal essays for the magazine that resonate for her
*What makes Woman's Day stand out from the competition
Link to subscribe

Sari Botton is: a writer living in Kingston, New York; Essays Editor for Longreads; editor of the award-winning anthology Goodbye to All That: Writers on Loving and Leaving NY and its New York Times-Bestselling follow-up, Never Can Say Goodbye: Writers on Their Unshakable Love for NY; operator of Kingston Writers' Studio; and the editorial director of the non-profit TMI Project

Click here to access Sari's recording and show notes

In this podcast, Sari Botton talks to Estelle Erasmus about: 

**Opportunities writing for Longreads
What she looks for in essays
*Submission pet peeves
*Longreads origin
*Submitting  writers for awards 
*How she edits
*Hot takes on topics and more


The Longreads Top 5 Weekly Newsletter
Longreads' Twitter
Longreads' Instagram
My Twitter

Recordings coming soon:

Katharine Sands, of Sarah Jane Freymann Literary Agency in New York City has worked with a varied list of authors who publish a diverse array of books including both fiction, memoir and non-fiction.

Among the books she represents are: The Apothecary’s Curse, nominated for the Bram Stoker Award 2017 in the First Novel category by Barbara Barnett; and Girl Walks Out of a Bar, a memoir by Lisa Smith that was featured by People Magazine as Notable Nonfiction

She is the agent provocateur of Making the Perfect Pitch: How to Catch a Literary Agent’s Eye, a collection of pitching wisdom from leading literary agents. Recording to be completed soon.

  • A blank piece of paper is God's way of telling us how hard it is to be God.
    – Sidney Sheldon
  • A critic is a man who knows the way but can't drive the car.
    – Kenneth Tynan
  • A good many young writers make the mistake of enclosing a stamped, self–addressed envelope, big enough for the manuscript to come back in. This is too much of a temptation to the editor.
    – Ring Lardner
  • A young musician plays scales in his room and only bores his family. A beginning writer, on the other hand, sometimes has the misfortune of getting into print.
    – Marguerite Yourcenar
  • All the words I use in my stories can be found in the dictionary – it's just a matter of arranging them into the right sentences.
    – Somerset Maugham
  • Asking a working writer what he thinks about critics is like asking a lamppost how it feels about dogs.
    – Christopher Hampton
  • Being a writer is like having homework every night for the rest of your life.
    – Lawrence Kasdan
  • Copy from one, it's plagiarism; copy from two, it's research.
    –Wilson Mizner
  • Everywhere I go I'm asked if I think the university stifles writers. My opinion is that they don't stifle enough of them.
    – Flannery O'Connor
  • I just wrote a book, but don't go out and buy it yet, because I don't think it's finished yet.
    – Lawrence Welk
  • I love deadlines. I like the whooshing sound they make as they fly by.
    – Douglas Adams
  • I'm writing a book. I've got the page numbers done.
    – Stephen Wright
  • It took me fifteen years to discover I had no talent for writing, but I couldn't give it up because by that time I was too famous.
    – Robert Benchley
  • It's a damn poor mind that can only think of one way to spell a word.
    – Andrew Jackson
  • Most writers can write books faster than publishers can write checks.
    – Richard Curtis
  • No fathers or mothers think their own children ugly; and this self–deceit is yet stronger with respect to the offspring of the mind.
    – Miguel de Cervantes Saavedra
  • There are three rules for writing the novel. Unfortunately, no one knows what they are.
    –Somerset Maugham
  • Writing a novel is like paddling from Boston to London in a bathtub. Sometimes the damn tub sinks. It's a wonder that most of them don't.
    – Stephen King
  • Writing a novel is like spelunking. You kind of create the right path for yourself. But, boy, are there so many points at which you think, absolutely, I'm going down the wrong hole here.
    – Chang–rae Lee
  • Your manuscript is both good and original, but the part that is good is not original, and the part that is original is not good.
    –Samuel Johnson