{"id":2199,"date":"2021-10-14T12:00:33","date_gmt":"2021-10-14T12:00:33","guid":{"rendered":"https:\/\/niemanstoryboard.org\/2021\/10\/14\/how-a-lifestyle-reporter-tamed-the-tiger-of-twitter\/"},"modified":"2024-03-05T16:51:04","modified_gmt":"2024-03-05T16:51:04","slug":"how-a-lifestyle-reporter-tamed-the-tiger-of-twitter","status":"publish","type":"post","link":"https:\/\/niemanstoryboard.org\/2021\/10\/14\/how-a-lifestyle-reporter-tamed-the-tiger-of-twitter\/","title":{"rendered":"How a lifestyle reporter tamed the tiger of Twitter"},"content":{"rendered":" \n
\n
\n T<\/span>he behemoth of Twitter has been a game-changer for journalism. It has become a tool for breaking stories, making \u2014 or breaking \u2014 careers, calling attention to issues, and giving a platform to people who long were denied a voice.

But what if you are not a skilled user? What if you are put off by the constant stream of tweets and links?

I keep my distance from Twitter, partly because I am worried, as a female writer, about trolling. At least, that\u2019s what I tell myself. But I also find the platform overwhelming. I am not sure how to catch this particular tiger by the tail and tame it for my benefit. You could argue that I am the poorer for it, quite literally.

Being successful on Twitter as a writer means accumulating followers, and accumulating followers is a skill that has more to do with showmanship than writing. Provocative, controversial and funny works. Can you do that? Clever headlines and click-baity tweets help. Can you do that? A steady stream of engagement is key; you have to keep putting stuff out there, and responding to responses. Can you do that? You have to get comfortable with oversharing \u2014 stopping the censor in your head who says, \u201cNobody really cares what you saw on the subway this morning.\u201d Can you do that?

If you can, Twitter\u2019s benefits are plentiful. Just one example: Book editors like authors who have huge social media followings that serve as a ready-made platform for publicity and marketing. Simply writing a good book? I guess that\u2019s not enough these days.

A lot of the writers and editors I follow use Twitter for three things:

    \t
  1. To connect with editors or agents<\/li>
    \t
  2. To promote and amplify their work (books and articles)<\/li>
    \t
  3. To find story ideas<\/li>
    <\/ol>
    The first two are pretty obvious, especially if you build an adequate following.

    But I got interested in the third use of the tool: Finding story ideas. Can you use Twitter to help you with that, even if you don\u2019t have a huge presence? I asked around \u2014 on Twitter, of course. Here\u2019s what I learned:

    Editors are prolific users of Twitter. Amanda Finnegan<\/a>, editor of “By the Way,” a Washington Post travel destination feature, says, \u201cWe use Twitter to look for trends among travelers, but also have a list of companies and other sources that we check every day for ideas. We also use it to crowdsource. Right now we have something out trying to get responses on resort fees.\u201d

    My takeaway: If you are a journalist who covers one industry or issue, be it politics, food or travel, Twitter is a terrific source for story ideas.\u00a0To elaborate on Finnegan\u2019s point, most travel writers including myself, regularly check on companies such as Airbnb, and its growing list of competitors including Sonder, Landing, Blueground, or Plum Guide, to check on prices, complaints and trends.

    Beyond companies, there are industry voices you can follow because you like their take on things. You write about wine? The obvious follows are magazines like Wine Spectator, along with celebrity wine critics such as     Eric Asimov<\/a> of The New York Times and Jancis Robinson<\/a>\u00a0of the Financial Times. But following the people they<\/em> follow is a great way to find obscure labels and names. For instance, I found Napa Valley winemaker Cathy Corison<\/a> because she was followed by both Robinson and Asimov. I liked her self-effacing approach, and ended up profiling<\/a> her for a piece on women winemakers.

    Find the intersections<\/strong><\/h3>
    The seduction of Twitter, though, is to find intersections between areas that throw out offbeat ideas. To do that, you have to find and follow people who sit at those intersections. I found     Mark Yarm<\/a>, features editor at Input, that way. I follow Writers of Color<\/a> on Twitter because they post job and assignment listings, and always ask for the fee on behalf of the writer \u2014 a useful question. When Yarm put out the below<\/a> post on Twitter, it got featured on Writers of Color:
    Hello, freelance writers! Q3 is almost upon us, which means my features budget at @inputmag<\/a> is about to be replenished. So please pitch me! mark.yarm@inputmag.com<\/a>. .50 to $1\/word. More details in the thread below.<\/strong><\/blockquote>
    Input<\/a> stands at the intersection of culture, society and technology. It features interesting stories that are around and above my realm of knowledge. So I began following Yarm to tap into this world. When I direct-messaged him about whether he used Twitter to uncover story ideas, his answer echoed the approach of many journalists:

    \u201cI’m constantly on Twitter, mostly because I’m addicted to it. But I can also justify all the time I spend there because it is essential to my work. I get story ideas from Twitter all the time. For instance, last month I saw     a Taylor Lorenz tweet<\/a> about a \u2018female\u2019 NFT project (that) was actually made by a bunch of men, and I asked Chris Stokel-Walker, a freelancer we have on contract, to report it out. That resulted in this<\/a> story, which did well for us. I know Chris also finds so many of his own ideas on Twitter.\u201d

    Follows can lead to leads<\/strong><\/h3>
    Following writers and editors in fields that interest you but where you have zero expertise also is a good way to expand the surface area of your knowledge.\u00a0This can lead to bits of news and information that you might integrate into your work. Your stories now stand out because of their fresh connections.

    Twitter is, of course, a massive networking community.\u00a0Writers often network with editors via Twitter, but it could well work with other folks too. Freelancer     Sonia Weiser<\/a> writes for many publications and sends out an \u201copportunities of the week\u201d newsletter for which she charges $3 a month.\u00a0She has 16.9K followers and follows 5,688 accounts.\u00a0She says that she occasionally happens upon someone\u2019s tweet about an issue that she finds interesting and will start interacting with them on the platform and beyond.\u00a0\u201cThat happened with my piece about COVID and grad students<\/a>,\u201d she told me. \u201cI saw a tweet from a grad student at the school I ended up highlighting and got in touch with her.\u201d

    But Weiser also uses Twitter to test ideas: \u201cThere have been times that I’ve shot off a tweet as a joke and then saw the response and realized it had story potential. That was the case for my Vulture piece on how the dudes from the     Blue Man Group were handling COVID<\/a>. One of the group members saw the tweet and replied, and then an editor said he was interested in it.\u201d

    Finally, Twitter also can be a quick search site if you\u2019re seeking added training or expertise. Journalism organizations, editors and writing coaches often post notices of conferences or writing workshops. For example, Nieman Storyboard kept a running list this year of     journalism conferences<\/a> that were going forward in person or online. And on her personal account, the Storyboard editor posts notices of her own writing workshops<\/a>.)

    The power of Twitter is its agility.\u00a0People have, over the 15 years since it launched, figured out ways to use it that in ways that are as imaginative as they are useful. And for as much as it I can find myself intimidated, I have embraced the value it has for me. I follow people in areas that are at the edge of my interests.\u00a0I find obscure experts in my professional areas.\u00a0And I follow certain organizations like Writers of Color that throw up job and assignment opportunities.

    ***

    Shoba Narayan <\/strong>is an author of four books, journalist, columnist and content creator. She has won a James Beard award and a Pulitzer Fellowship.<\/em>\n <\/div>\n <\/div>\n","protected":false},"excerpt":{"rendered":"

    he behemoth of Twitter has been a game-changer for journalism. It has become a tool for breaking stories, making \u2014 or breaking \u2014 careers, calling attention to issues, and giving a platform to people who long were denied a voice. But what if you are not a skilled user? What if you are put off […]<\/p>\n","protected":false},"author":1,"featured_media":8949,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[12],"tags":[],"topics":[],"authors":[354],"issue":[],"class_list":["post-2199","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-essays-on-craft","authors-shoba-narayan"],"acf":[],"yoast_head":"\nHow a lifestyle reporter tamed the tiger of Twitter - Nieman Storyboard<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/niemanstoryboard.org\/2021\/10\/14\/how-a-lifestyle-reporter-tamed-the-tiger-of-twitter\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"How a lifestyle reporter tamed the tiger of Twitter - Nieman Storyboard\" \/>\n<meta property=\"og:description\" content=\"he behemoth of Twitter has been a game-changer for journalism. 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