It's my belief that you should never show your work to anyone in the publishing world until it shines like a diamond. Rough drafts don't shine, as a rule. Mine certainly didn't. That's why I was rejected for years and years.
Going into 'Details' magazine to pitch concepts for a potential photo shoot was one of the most nerve-wracking things I had ever done. I didn't really know what one did in a pitch, how they were structured, etc., and that freaked me out big time.
For magazines seeking to extend their reach into podcasting, half the battle is finding members of staff who don't sound like the kind of people you wouldn't care to be stuck in a lift with.
As a visual person, I love a creative resume. Putting in a little effort on the design side will show that you care about making things look good.
For me, announcing wasn't the ideal working condition.
We are firm believers that the first time somebody hears a brand new song from the band, it shouldn't be on a cell phone camera with the distortion or anything where you can't make it out. We want to present it right.
I know how to put it on when it comes to interviews and performing because I have to. But I'm pretty laid back.
The main thing I do is to carry myself as best as I can on my pro level.
The thing about a good podcast is you have to have a good host. If you don't have a compelling host then you have nothing.
When I used to work in television, a tip was rather than looking down the barrel of the camera and imagine people watching, which is terrifying, imagine your most discerning friend observing you, and imagine you're just talking to them.
Job applications are an aesthetic event. They are performance art. They are not about proving you are smart - well, maybe your writing sample does that, but even then, the main point is to get an interview.
The letter of application ... should be a masterpiece of fiction, papering over all the cracks. Get it properly typed on decent writing paper. Never let it run over the page, people get bored with reading.
