Have you ever read an amazing piece in a magazine or newspaper and wondered what the writers life might be like? Maybe you have even wondered if you have what it takes to be a professional writer or journalist. Latria Graham takes us behind the scenes in her life as a freelance journalist in this two part series.
Show Notes:
Latria
Graham is a freelance writer and journalist who has written for many
publications including, but not limited to, ESPNW, The Guardian, Teen Vogue,
The New York Times, the LA Times, Southern Living and my personal favorite
(because it was my home paper) The Spartanburg Herald Journal.
In this two
part series Latria takes us behind the scenes in her life as a freelance
journalist. We discuss everything from
getting started to how to build a community within your profession when you
often work alone.
A few of my
favorite take aways from part one include:
- We all have different strengths and weaknesses. Figuring out a niche within your own profession will help differentiate you from the rest of the pack.
- Having a partner, mentor or colleague to bounce ideas off of is beneficial. There is strength in numbers.
- When hard days come, its helpful to look back at words from people who believe in you. Keep a stash of those e-mails or letters within reach.
Links:
https://www.latriagraham.com
Latria Graham – LinkedIn
Latria Graham – Twitter
Latria
Graham E-mail – latria.graham@gmail.com
https://hubcity.org
Transcript:
Welcome: Welcome to “How She Got Here – Conversations with Everyday
Extraordinary Women.” It is my belief that every woman has something inside her
only she can do. The more we share the stories of other women, who have already
discovered their thing, the more it inspires, encourages, and empowers other
women to do the same.
Intro: Hey Pod Sisters! I am
so excited about today’s episode. That is because I am sharing my conversation
with Latria Graham. Latria and I both
happen to be from the same home town though we never knew each other. I am
thankful to have met her by chance at Hub City Bookshop over winter break in
2018. Per her website: she is “a writer, editor and cultural critic currently
living in South Carolina.
Her “writing interests revolve around the dynamics of race, gender norms,
class, nerd culture, and- yes, football.”
She is “ keeping her eye on publishers that are invested in celebrating
the diversity of the human experience. Contributing to online publications that
focus their attention on social justice and equality resonates with her
values.” She loves “speaking with people
who challenge the status quo and care about living and learning without
inhibitions.” Latria has written for
many publications including, but not limited to, ESPNW, The Guardian, Teen
Vogue, The New York Times, the LA Times, Southern Living and my personal
favorite (because it was my home paper) The Spartanburg Herald Journal. So without further ado…here is Latria
Susan: Well, hey, Latria Graham, thank you
so much for joining us today. I am so looking forward to this conversation. You
have no idea. I’ve been looking forward to this all week.
Latria
Graham: Yeah, same
here. Hi Susan. I’m glad we found the time to get together and talk a little
bit.
Susan: Yeah. Friends, Latria is a writer.
And I don’t mean just any writer. Latria reminds me of somebody who is out
there writing, and is literally changing the world through her words. And we’re
going to get into all of this. This conversation could go on for days. I’m just
really not sure yet.
Latria
Graham: We’ll give
them part two.
Susan: Yeah. Hey, you know, I’m not
opposed. Let’s start out with just you. Who are you? How did you become a
writer? Why do you love writing? Let’s just start at the very beginning.
Latria
Graham: Yeah. So I
started writing professionally—I had my first published piece in 2008. And that
was actually a segment of a book. It was an essay called “Black and White
Thinking.” And it was in this book published by Random House called Going
Hungry, featured by Kate Taylor, or edited by Kate Taylor. And that came
out my senior year of college. But it was one of those things that I went to
Dartmouth thinking I was going to be a biomedical engineer. I feel like I’ve
lived 1000 lives at this point, because I thought it was going to be a number
of things, and then finally settled down and decided to become a writer. But I
have loved words and spelling and writing and terms and phrase since I was a
little kid, but I grew up in a culture and environment that basically only
taught the dead white guy, Nathaniel Hawthorne, Edgar Allan Poe, people like
that.
And so all
the writers that I knew, or at least that I had read in school, basically died
penniless in the gutter under sketchy circumstances. And I knew that I needed
to make money. You know, Spartanburg is very much a mill town or a production
town and everybody kind of makes something or they’re judged in some way by
their production. And so I knew that sitting on my butt creating words the way
we think of like Shakespeare, again, another dead white guy, was not the way to
go so I decided I would become something else. My parents really wanted a
doctor, so I thought I would do that. And then I got to Dartmouth, and like,
started taking classes and you know, working in a hospital, and I was like,
“No, this is not for me.” But then become a biomedical engineer. And just, I
really disliked it and sort of had a nervous breakdown. And my therapist was
like, “What do you want to do? What would you see yourself doing if you didn’t
have all these restrictions?” and I was like, “I would be a writer.”
And by then
I learned that there were these things called journalists. My parents did not
get the newspaper, they were TV news watchers, and so I did not have a sense of
how a newspaper came together. My mom read magazines, but I didn’t really
understand sort of the production value of those. So I got the chance to learn
a little bit more about those, but why not have a journalism program. So I got
introduced to some living writers, but I was still in a very academic vein. But
there was something about sort of this idea of writing about the self and
investigating the self that was really intriguing to me.
So after
graduation, I moved to New York City, September 1, 2008, which was basically
the start of the recession. I plugged in my TV in this cute little New York
apartment that I’d gotten and there were no jobs. Lehman Brothers was closing
that day, and everybody was walking out with their boxes of stuff. And so I put
in 100 applications, and I wound up at the New York Society Library, which is
the oldest library in New York, as a Library Page. And I learned about history,
I learned more about books and how they’re made and all that. And I really
started to sort of figure out what type of writer I wanted to be. I got to
engage with living working writers with contracts and understanding that a
little bit better, and getting into the magazine world. So that’s really how it
started.
And then I
went to the New School in New York City, for my MFA in creative nonfiction. And
I started working on a lot of these stories about my family. It was much more
of a history, but I realized now it had some of the markers of climate change,
some of the markers of gentrification, and all these things that were starting
to happen in my community, but we were just telling them through oral histories.
And so I finished that up in my second year, the program’s two years, my dad
got cancer. And so I came back and finished my thesis here, and I needed a way
to make money while also caring for him. So I started freelancing, and I
started writing essays about my experiences growing up, what it was like being
black with an eating disorder. And really, editors started coming to me asking
me, because they knew I was one of the few people of color that would talk
about mental health. And that, you know, 2008 to 2013 range when the internet
was sort of starting to get into personal essays. And they would ask me about
pieces. And I was starting to start doing that. And that’s how I supported
myself. So I felt like when I was out of options, I started making options
myself, I didn’t know that there was a job called a freelance journalist or
freelance writer. So that’s how I started getting into it.
Susan: Okay, I want to go back just a
second, because I love how you discussed and I can remember sitting in a class
vividly and thinking, “I am reading a bunch of dead white guys,” with like the
exception of Emily Dickinson or somebody like that, white woman, so…
Latria
Graham: Still dead.
Susan:
Yes, also dead.
Latria
Graham: Very much
still dead. I mean, that’s the thing was that, like, we’re not talking about
living writers and so we can’t talk about living wages and how they live and
put ourselves in their shoes. I’m never going to be a 19th century Victorian
white woman with the leisure time and the home help in order to be able to
write like that. And that’s no shade to her. That is just not my reality. So it
takes some of the possibilities of who you could be off the table.
Susan: Just a little, maybe. I don’t think
any of us…I would not want to go back to Victorian times, anyway. I don’t think
it was good for any women back there. I realized that there are groups of
women, minority women who it was way worse for, absolutely.
Latria
Graham: Right.
Right.
Susan: But in reality, it wasn’t good so I
agree with you there.
Latria
Graham: It was an
okay walk.
Susan: Right. Tell me, how did you even
find a living writer?
Latria
Graham: I was really
lucky. She came to me. It was Lucille Clifton, who passed away in 2010. But she
was at Dartmouth as like the poet in residence. I think she was only there
maybe like a month. And the poet in residence would live in this house on
campus, and they would have dinners with her. And so my advisor, Michael
Chaney, who’s still a professor in English at Dartmouth, he was my advisor, and
he’s like, “You have to go meet Lucille Clifton.” And I’d heard of her as a
poet before, you know, they’ll accept a poem in our maybe black women writers
class or something like that. I was like, “Oh, okay.” And I did not realize
sort of the power of presence that she would have. And she talked to us about
sort of how her poetry came about, how it ended up being published, this
network of women that she exchanged work with, and sort of started entering
into that conversation. I was like, “That’s how writers are doing it. That’s
how writers are forming community.” And so I was just very lucky and happen to
be on campus when she was there. I think that was my Junior year of college.
And I have a photo of her with my black women writers professor, Shalane
Vasquez, and it is one of my treasured photos, like I adore it. Yeah, so I
think she was one of the first—I won’t say that she was the first but she was
the first one that really talked about the process and how hard it was to sort
of make that community happen because she was doing it well before the
internet.
Susan: I can’t imagine doing a lot of
things before the internet, much less being a writer in a professional
situation where you’re not around other, you know, other people in your field
on a regular basis. It’s not like you’re a part of a press corps or something
or working at the Times or something like that, or even the Herald Journal, or
the Dallas Morning News. So I cannot even imagine.
Latria
Graham: Yeah, even
with the internet, it’s still hard and not something that we can get into in
terms of community building and where you find it, because I do spend a lot of
time like that whole, like surviving on Coca Cola and pork skins and my yoga
pants with just my, like, reading my words to my dog is very much my reality,
basically. Now, if I wasn’t on the phone with you like that, I’d be sitting
here, I’m dressed a little bit nicer today. But like, it’s a lot of alone time,
which in some ways you need as a writer, but when things are going poorly can
be incredibly isolating, and so trying to find that balance is really
important.
Susan: Well, how do you do that? How do you
find community within your profession, because I would think it would be
important to be able to bounce ideas off of, and also find people that you
trust, or that the people you’re bouncing ideas off of aren’t going to try to
walk away with your idea.
Latria
Graham: Right. The
first thing that I will say, I think, and people will probably disagree with me
on this is the idea that like nobody can really, truly steal your idea. And I
say that because nobody can write it the way that you can. And so sometimes
I’ll get—as I actually will give you the example, my first piece I ever did was
on Josh Norman of the Carolina Panthers, and I ended up doing this long form
piece on him. And I followed him during his last season, the season the
Carolina Panthers went to the Super Bowl. And I just kind of didn’t know what
the story was going to be. But I was like, “Ha, this is a really interesting
dude.” And somebody else came out with a long form feature on him first. And I
was a little crestfallen because this was my first major piece ever about
someone else, I’ll put it like that way, it was my first journalism piece ever.
And I was a little worried about it, and I read it and I, “But this guy doesn’t
have the stuff as I do, he doesn’t have the perspective that I have.”
And so I
finished the piece and I turned it in, and it ended up being a bigger piece.
And I don’t say that in a braggadocios way, it’s just to show that we came from
two different perspectives. And somebody else may say, “Look, technically his
piece is better in terms of structure and storytelling and some of the other
stuff.” But if you read both pieces, you would get something different out of
both pieces. And that is okay. And so even if somebody else decided to take the
idea, you have something in your back pocket that makes you you that they’ll
never be able to replicate it. So that’s why I’m not sure sometimes. Like, Standing
Rock, a bunch of people covered Standing Rock, I covered it very differently
from them. I did the same thing with Flint. So some of these major news
stories, particularly, you’re going to have a bunch of people, a bunch of
reporters in one space, and you just have to figure out what you do well, what
you do differently from everybody else. So that’s sort of the first part of it.
And then I’m
really lucky here in Spartanburg that we have a literary community. And so I go
to my local bookshop a lot. And I am actually on the board of Hub City Writers
Project now. But I can go in there and talk to people about books. And some of
them are editors, and some of them are just very veracious readers, but we can
have this conversation, keeping the pump primed a little bit in your brain,
because you don’t have to sort of think about sort of analyzing what you’ve
read, it just comes out in conversation. So there’s that.
I have a writing partner, Maggie Mertens, we
went to graduate school together. And we are both working writers, both working
freelance writers. And we bounce ideas off of one another. And I did this
writer’s residency, we would have a call once a week or every two weeks and
say, “Okay, what are your goals? How can I keep you accountable? What do you need
help with?” Sometimes I’ll get stuck on plot for a long form piece, and she’ll
recommend a book for me, sometimes I’ll send books to her and we sort of
celebrate our triumphs. She was just in the Atlantic talking about women’s
soccer. And you have somebody else to root for that you’re incredibly proud of.
So that’s sort of the second thing, is finding a writing partner. And not all
writing partners are going to be great fits, because I had a different writing
partner before that and she took a different job and stopped writing. And so I
was like, “Well…” Talking to her about writing is fine but she’s not living it
in the same way. So I partnered up with Maggie.
And then the third is finding a mentor. And I’ve been very lucky because I’ve run across a lot of people that have mentored me along my way that I can send an email to and say, “Hey, I’m not sure about this piece,” or “can we jump on the phone, I just need some life advice as to whether or not to take this next job. Is this a step forward? Is this a step back?” Especially in regards to pay or is going to be a major consumption of my time. So Kim Cross, who was an editor at Southern Living, and now is working as a freelance editor. I met her at the Archer City Story Center, and I was invited to go out to the writing workshop, and I had the opportunity to go out to Archer City, Texas, which is where Larry Mercury is from, and spend a week talking about like form and structure. And I knew at that point in my career, I wanted to go out there and really start challenging myself and adding extra tools to my tool toolbox as a writer.
So I go to this tiny town in Texas and I just hit it off with her. And I hit it off with Glenn Stout, who is a sports editor and does a number of baseball books. And then Jacqui Banaszynski was out there, she won a Pulitzer on her work back in the 80s with HIV and AIDS, correct me on that if I’m wrong, but then I want to make journalism awards. And then Eva Holland is an outside writer, outside/outdoors writer that I admire. She’s working on a book, but she actually did this long form piece on what it was like to feel yourself freeze to death. And she put herself outside to the point where she was going to freeze herself to death, or was going to freeze to death, and wrote about it. So you’re reading these really incredible, intense people, and not all of them became mentors. But like they, again, they’re making you think in very different ways. And you end up keeping in contact with some of those people.
So that was a way that I sort of started
finding mentors and started engaging with people. Sometimes it takes being out
of your comfort zone, sometimes traveling to a conference. And I don’t do that
often, because they’re very expensive. And sometimes time prohibitive, if I’m
on deadline, but that does help find the mentor. Writing an email to someone to
say, “Hey, I could use a mentor.” Sometimes helpful. Sometimes it’s not, just
because it can be very time consuming for the other person on the other end,
and they’ve never, never met you, you don’t know exactly what your interests
are, and things like that. But those are the three local bookshop, writing
partner and mentor.
Susan: That’s really interesting. I really
appreciate how you put that. I think there’s something to be said for finding
people and being able to connect with them on a personal level, rather than
just emailing them. And I mean, I took a lot more away from what you just said
than that. But that was kind of something that stuck out to me as somebody who is
behind a microphone so often, also works from home, also, you know, is alone so
often and going out and finding people and going to the local bookshop. And I
love Hub City, whenever I’m town, I try to stop in and just because there’s not
a lot of places like it, and where you have that community of intellectuals
just hanging out at a bookstore. Before Hub City existed… What was it called?
There was a sandwich shop across the street. I worked there in college, what
was the name of that place?
Latria
Graham: The Sandwich
Factory? Is that the one you’re talking about?
Susan: The Sandwich Factory, yes. Everybody
hung out there. But before the bookshop existed, and then they created the
Writers Project, and then the bookshop came and it was such a—I loved just being
around those folks, even if it wasn’t really my jam at the time, because you
just knew there was like so much information there in front of you and so much
creativity, and just gleaning any ounce of that that I could—I tried to.
Latria
Graham: Yeah. Do you
remember Java Jive at all?
Susan: Yes.
Latria
Graham: So I was
like not old enough to be there. I was like 12 or something like 12 or 13,
yeah, because it closed by the time I was like 15 or 16. It was definitely off
the radar. Java Jive, you know, had these like…For people listening because I
realized this may make it as cut and may not, but Java Jive had these really
interesting—was the first coffee bar and had these gigantic cookies and like
they had taken bathtubs and turn them into seats. And there was a really
eclectic, interesting kind of unbridled energy in that space. Particularly
like, we weren’t out late. We definitely had to be home by eight o’clock. But
it was starting to get really interesting after five, right after school. So
like, we knew that Jill’s older sister was going to have to pick us up and take
us home. We definitely had to be home by nine, for sure. But, you know, there
was that weird, interesting space. And the Sandwich Factory was sort of this
really eclectic intelligence that is sort of what they call it like space
during the day. And like Hub City feels like this great, but not crunchy
version, like fusion of the two. And that’s why I sort of love it. It’s got
this unbridled energy to it. But it also has this incredibly intellectual side
of it because you know, people are they’re reading 900 page biographies of
somebody. So yeah, I adored both places, even though I was a little bit younger
than you and did not get the chance to like, you know, grow up in the spaces.
Susan: Okay, well, thanks for calling me
old.
Latria
Graham: No, no, no.
Susan:
I’m totally kidding. I’m totally kidding. I’m totally kidding. I’m
yanking your chain.
Latria
Graham: No. You’re
the host. You never want to like piss off those.
Susan: Oh, honey, you couldn’t? I’ve had
too much fun getting to know you. And one of the most respected people in my
life is the one who—well, after we met, she actually recommended you. So yeah,
there’s no way that would ever happen. Because I don’t want to piss her off.
Latria
Graham: Yeah,
neither one of us wants to, actually. We’re going to leave her as she will not
be named. But she’s incredible. And I think incredibly highly of her and of
you. So yeah, we will keep it all good. I will send you like some Disney merch
or something that would make me super happy.
Susan: Oh, you are hilarious.
Latria
Graham: So I will come up with something.
Susan: No, I was totally kidding you. Let’s
go back to—you made a point that you were at Dartmouth, you graduated, you
moved to New York City, you came home to help take care of your dad, who had
cancer and you knew you had to earn money. And so you figured out a way to
marry your passion? I’m going to say it this way. I don’t know if this is a
good way to say it. But marry your passion with figuring out how to make money.
Can you share a little bit about that? Because I think a lot of people have
trouble with that step. They have a passion, but they cannot figure out how to
monetize it, if and when that becomes necessary.
Latria
Graham: Oh, that is
a rough one, oh my gosh. And the way you said it was really interesting,
because I definitely have passion projects. But I see writing as a skill that I
have to like utilize it. So I would not necessarily say just blanket, you know,
writing is my passion or books is my passion. I think that’s how people think
of the profession in of their passions, right? Like they think of art, like it
ends up being this kind of big thing, where it’s like, no, I have a particular
set of skills that I’ve drilled down where I’m very good at this. When you are
able to get very specific about what you’re good at, and what your skills are,
you start seeing where they fit within a market in order to be able to better
monetize them.
So I
realized that I am not—and there’s no shades of them, because we need them. I
am not a traditional newspaper writer. And I thought for a little while that I
was going to go that route. And I’ve written a couple of things for my local
newspaper. But I’m much more of a long form feature writer, and really getting
spending time with someone getting inside their heads. And being able to take a
big policy issue, put it in, like show how a person is living through it. And I
realized that’s what I’m really good at. And I have a harder time with content
marketing work and things like that unless I did a piece on Shalane Flanagan
when she won the New York City Marathon. And that was very much getting into
her body and Amy Crags body and spending like four days with them in order to
like push through that. But if they had wanted me to write about their sneakers
for 6000 words, I’m the wrong person.
So it’s very
much like once you know who you are and what your skills are, you can really
market them in a way that makes sense for you. Because like my tagline, and I
really do live this, if you look on my website, it’s “Social issues deserve
subplots.” And I believe that because like I don’t think you can have this one,
like, sort of we think about it, I’m trying to give a really good analogy.
Right. It’s the iceberg in some way. We think about this huge point on top, we
don’t think about all the things that are going on underneath. So I’m never
going to be the type of writer that writes maybe three or 400 words on just
this is by you know, x is that. It’s always going to be much more nuanced and
have all these shades of grey, because life is so much messier than we think.
So again, if someone’s wanting me to write, and someone actually was willing to
pay me a lot of money, to be an editor for a conservative sports vertical, and
it would have been sort of hitting people over the head with morals in some
ways. And that’s just not what I do. And so I stuck to my guns and passed over
it. But I was like I would have also been really terrible that job because
that’s not the tool kit that I had, you can’t take a plumber’s tool kit and try
to go fix a car. It’s just not going to work, you’re not going to have
everything that you need. So did that answer your question a little bit?
Susan: I think so. If I’m understanding you
right, it sounds like you do have a passion for certain subjects maybe that
you’re writing on. And then you also can back away from that. And it’s not just
that you’re always doing work that you’re passionate about. You write, you’re
willing to write and you do write about other subjects. But then there are the
passion projects. Yes? And it’s all within this writing circle.
Latria
Graham: Yeah, well,
and I look at it as more storytelling. My passion is storytelling, I’ll put it
that way, whether it’s visual or written words, figuring out a way to tell
those stories, but my skill set…So yeah, that’s a great way of putting it. So
my passion is storytelling, but my skill set is stronger in writing. And then
it’s stronger in long form features that have a person living through policy
aspects, right? So it very much narrows down what you what you do, and the type
of work that you do. So that whenever you put up your website, you put up your
Instagram stuff, everything is sort of in one vein. So even when you look at
your Instagram, the way that you tailor the stories and the things that you
tell, coupled with the photographs that you have, and I think Instagram is a
brilliant way of thinking about this. If you’re whenever I open your tab, and
it shows me all nine photos, your most recent nine, right? Like you can get
some idea of who you are in a theme and where you’re going. And you’re like,
“Ah, okay, I see that about myself. Here are the things I know about myself,
here’s how I can market myself.” So if you look at my Instagram, and my top
nine things, it’s all adventure things. But if you click on them individually,
every single one has a story. I’m never going to post something that just has
one or two sentence, it’s got to have a revelation about something that I’ve
learned either about myself or that I’ve learned about someone else. And so you
learn through scanning my Instagram scanning my social media, that’s the type
of stories that I do, where you’re going to get an unexpected twist and learn
something that you didn’t anticipate. And so yeah, when you start having those
sorts of things, you can say…And people are really good at the elevator pitch.
My brother works in San Francisco, and he can tell you exactly who he is in 100
words or less. I have a very hard time doing that because I’m a writer by nature,
and brevity is not my strong suit, and that maybe should be my tagline. But yet
you start getting very defined about what it is you start finding your tagline,
you start figuring out how to describe yourself. And that sort of becomes the
way that you market yourself. And when word gets around about what you do—and
this is in any I think passion when people find out what you do, and they have
a specific project, they start coming to you with that project, because they
know what your identity is, they’ve been able to figure it out because you’ve
marketed yourself that way. Is that a better answer? Does that make more sense?
Susan: No, I think it’s fascinating the way
you answered that, considering we started the conversation with you getting, I
guess it was a Master’s at the New School. And one of the things you were doing
was writing out the stories of your family.
Latria
Graham: Right.
Susan: And I think that it kind of it just
in a weird way. It just kind of came full circle of you’ve been doing this a
long time.
Latria
Graham: Yes. It
feels like I’ve been doing this my whole life. I’ve been gathering information
my whole life. I just didn’t realize that the pain and the information would be
useful to me. Yeah, that’s the difference. It’s like people said to me,
“Someday this pain will be useful to you.” And I was like, “Damn, they’re
right. I hate that they’re right but they’re so right.” Yeah. And I actually
just looked back at my Instagram and started looking at, you know, what was up
there, and like the first things that I put up there were shots from the farm
that we had picked up and shots to the produce stand and things that we’ve
gotten in and stuff that that I learned, I hadn’t looked at this in a really
long time, because like freelancers never looked back. It’s sort of how I think
of it. But yeah, it all informs who I am. And it’s like, how do you distill
that down so other people can understand it, too?
Susan:
Yeah. Wow, that’s such a… Yeah, that’s really cool. I also liked how you
said “freelancers never looked back,” and you are looking back right now. It’s
pretty funny.
Latria
Graham: Yeah, it is.
Because you don’t like once that check clears, if you don’t write another piece
you don’t eat. And so I never…Like I get on that. I call it the hamster wheel.
You never see how much…It’s not a treadmill, you don’t know how far you’ve
gone, you just know that the wheel has to keep moving in some way. So we don’t
look back. I don’t think about the awards I’ve gotten or anything. And when
people ask me for a bio, I’m like, “I have written a lot, I have been doing
this for a while.” And that’s the only like, contemplative moment that I have
is when I’m forced to look back.
Susan: Well, I ran back in the day I was a
runner, I guess I could still be a runner, if I put on some running shoes and
went outside. But I was actually in training, like I was winning a few local
races and stuff like that. And so reading back through your writing and reading
the article you wrote. I’ve watched all
of her races. And I remember her falling. And I remember watching it happen and
crying and thinking, oh my god, like that’s it, you know, because she was
picked to win. And it was devastating. And for the life of me, I can’t remember
which race it was. And so the way you wrote about her, it was just so moving
and inspiring to me. But a lot of your writing is that way to me because I’ve
read everything on your website. Tell me what you enjoy writing most about
like, do you have favorite subjects? Because I know it’s freelance but what are
some of the favorite things that you write about? Or you have written about or
people? What are your favorites?
Latria
Graham: Oh my gosh,
that’s like, in some ways asking me to like choose children. So like the
piece—this is going to sound basic, but like the piece that I’m maybe the
proudest of, even though it years ago, and like probably technically not as
good as what it could be if I’d written it now, was the Josh Norman piece
because I didn’t know that that was coming. And it really announced that I had
become a writer. And I’ll tell the story really quickly if you’re okay with it.
But like so my dad had passed with cancer. And that was in 2013. And no, was it
2013? That’s very silly. I should know when my dad passed. Sorry, it was 2013.
So my dad had passed of cancer. And I was trying to figure out who he was at
that point. And one of the things that my father like loved, loved, loved was
football. He started as a Washington Redskins fan back in the 60s, because
Carolina did not have a team but whenever Carolina got a team, my dad rooted
for them. But because we were farmers, like in summer is our major time, He
never went to training camp, even though it’s five miles from our house
So I was kind of lost and didn’t know what I
was going to do who I was going to be, if I was going to move back to New York.
I graduated, while my dad was ill, but I didn’t have a job lined up, obviously,
and was devastated. So I was like, “I’m going to figure out who my dad was
through football, I’m going to do something he never did. And I’m going to go
to training camp.” And I met Josh Norman, he was practicing on a field like an
hour after everybody had gone in, you know, Cam Newton and signed autographs
and disappeared at this point and stuff. And I asked him a question. And he
answered it, and I just kind of kept coming back and observing. It’s kind of
like, what is it about this dude. And it turned into this long form piece. And
I’m really proud of the storytelling and the orality I was able to do in that.
Josh Norman’s piece one of my favorites.
The Standing
Rock piece pushed me further than I ever thought that it could and I had such
admiration for the people that I covered. And so that is another favorite, but
any chance that I get to explore those big copy issues, and it’s happening less
and less, would sort of be collapsed with certain digital media outlets. I’m
not getting to do it as often as I would like. Any chance that I get to bring
those types of topics to a new audience that thought they would not have skin
in the game, I’m really proud of that. I’ve always spent time investigating the
body, both my own and other people and how it reacts to the environment and
those cases with water and what the stakes are. I love those pieces. If I could
do those pieces, types of pieces for the rest of my life and get paid on time.
I would say that I have my dream job.
Susan: Well, let’s…You brought this up. So
I’m going to kind of shift gears for a second. And this is not a question I
prepped you for. You brought up online publications that aren’t making it or
that are leaving us or what have you. Journalism right now is so, so, so
important, and accurate. Storytelling is so important. We need you, right? We
need your stories, we need what you’re writing, because we don’t all get to go
out and experience this every day. What does the non-writer in the United
States need to know right now about the importance of good journalism? And
where can you still find good and accurate and real journalism? What are your
thoughts on my questions? Maybe you don’t even answer the question. But what
are your thoughts on those types of questions?
Latria
Graham: This is a
whole other…So the first one that I thought of was when you read really good
stories that like touch you in some way, like because writers like maybe not as
much for the post, but sometimes those guys are freelancers too, like, let them
know, like I keep every email that I’ve ever gotten about somebody that said
something positive about my work, you know, going back to you 2013, right? And
so I kept every single email. And when you have like really crappy days, you
can go back and be like these people believed in what I was doing. So that’s
part of it.
And then the
second one is paying for journalism. And people are really annoyed with their
pay walls and things right now. But like the fact that people read for free
means that we don’t get expensive, like I was very lucky with that Standing
Rock piece, that piece would’ve cost me probably about $2500, if I’d had to buy
my own last minute flight to South Dakota, and try to get a hotel and food and
rental car and all that stuff. And ESPNW, believed in that story enough to be
like, “Okay, we’re going to front the expenses, you don’t have to pay for that.
Go tell a good story.” And that has happened to me maybe four times in my
entire career. And the biggest story—well, the big story I told for The
Guardian, which had something like I think 4 million readers. I slept in my
truck, because I could not afford a hotel room. And I knew that that was not
going to be expensed for me.
So it’s
realizing that new people are people too, and some of us are putting everything
we have into this job because we know what’s happening is important. And so
sometimes it’s feedback, sometimes it’s knowing that people are paying for
news, and that you’re going to get reimbursed for your expenses. But some of
the biggest stories I’ve told, I’ve only broken even on. And I told them
because they were necessary. And the story I was talking about with The
Guardian was called “Last of the Dying Breed.” And it was an African American
female swim team. And it was the last African American swim team at HBCUs and
it was going to be disbanded. And I got to catch one of their last practices
and talked to them. And they also enabled me to talk about African American
discrimination and why we don’t swim and why so many African Americans drown.
And yeah,
like I got paid maybe less than $300 probably for that piece. And so by time I
paid for food gas, drove my own truck, but could not afford a hotel. But like
that story, knowing that like, this was the last time that this was going to
happen, I had to be there. And it was a springboard on to some other stuff. But
that’s part of it. Also, just checking—whenever we talk about new sources, and
I’m hesitant to throw out like the big ones, because they do some really great
reporting. But they also have their leads, but just really say, what was the
point of this article? What did I learn from it? Was it incredibly skewed? And
that’s something that I see people, like the number of times I have to say,
this is fake or this has been disproved by Snopes and all that I’m sort of
like, the journalist fact checker on social media for some of my friends. A lot
of them appreciate it. But a lot of them get really annoyed by it. But I was
like, “You can’t…Just because you want this to be true, doesn’t mean that it’s
true. And look at more than one source and see what’s coming out there and
figure out what the endgame is supposed to be and why you believe what you
believe.”
So I mean,
because there are a lot of really great places in like Southerly is doing a lot
for the American South and picking up a lot of these environmental stories for
the different smaller—and some of them are small sources. And sort of compiling
them and giving people stuff to read The Bitter Southerner is another one that
people would not necessarily think of, but I read it just as much as I read The
Atlantic. So I’m hesitant to throw out too many names, because everybody is
always going to think—and they’re great, impressive pillars of journalism. But
I respect Brendan Meyers was at the Dallas Morning News. And he was one of the
greatest long form writers. He’s about my age. But I read everything he wrote,
because I thought it was incredible. So there’s so many places, people will
always think of the New York Times, they’ll always think of The Washington
Post, but they really should be thinking locally too about their newspapers in
their communities, and who’s doing really interesting long form stuff. Where
are the investigative people? If they’re not there, why aren’t they there? You
know, and start looking at stuff that way. So yeah, this was not a question
you’ve had before but I am so passionate about it, that I will stop rambling
now and hope that I gave you some pointers.
Susan: You’re not rambling at all. And some
of the smaller publications you mentioned Southerly and what was the other one?
Latria
Graham: The Bitter
Southerner.
Susan: Yeah. I’ve never even heard of them.
Latria
Graham: I mean,
they’re incredible. So The Bitter Southerner is like, really trying to take
away the red necky, only had two teeth, almost sort of hillbilly elegy thing
that has been put on the country. It especially got prominent after our current
president was elected, but like taking this, you know, they think of us as sort
of backwoods, know nothing’s, and that’s not the case. And it was not
necessarily meant it to be political. But it is just like the South is so much
more nuanced and interesting than you thought it was. And that’s the case like
Charlotte, our state is doing some really interesting stuff now. Charlotte
Magazine, Atlanta Magazine has always done really interesting things. And I get
a lot of these, even though I don’t live in Charlotte and Atlanta, but I
frequent these places. And so I do read them a lot and keep up with some of
their writers and look for them whenever they come out with books and stuff
like that. And that’s the other thing is like some of these, some of it will
leak over like Beth Macy was a newspaper writer, and she wrote Dopesick,
she wrote Truevine. And so they go on to write books and supporting them
that way. And some of the longer work they do, because you appreciated their
newspaper or magazine, was another really good way to get into it too.
Susan: Those are really helpful. I’ll
admit, sometimes I get really heavy in the bookworm side of stuff, and I can
sit and read books for hours. And sometimes I forget about, I mean, I read the
newspaper daily, I’m probably one of the youngest people that does, I don’t
know if everybody sits around, read the newspaper. And I do read it on my
computer. I’m not sitting there with the old school paper, and I and I pay for
it, and multiple papers. I’m kind of a nerd. But I do get heavy sometimes into
books. And I forget about small, not smaller, but like magazine publications
that are local… I mean, I read like the Dallas Observer, or sometimes I go
back and read…Although I don’t think it’s there anymore. I think the Village
Voice is gone.
Latria
Graham: The Village
Voice is gone, but y’all have Texas Monthly, which is incredible. They’ve done
some major work. And they do all have a couple of lesser and I know Texas is
contentious, because it’s the South but it’s also the West like, it’s also a
very big place, having been there. So there are a number of ways that you
can…But yeah, Texas Monthly does some really cool stuff. And Long Reads is a
great place that compile—they pull from everywhere. And generally it’s stuff
it’s over maybe like 5000 words. And sometimes it’s things like Texas Monthly
or the Atlantic, but it can be The Bitter Southern or it can be outside. It
pulls from everywhere. And they publish during the week, and you can follow
them on Facebook. And some of the more interesting long reads of the week you
can find there, as long as there’s a digital version. So that also is helpful
because I get probably 20 to 25 magazines a month. And I can’t get through them
all. And I also get The New Yorker, which sometimes I like. I adore it when I
read it. But the fact that it comes more often than I’m home can make for a
serious backlog. So we recycle all our magazines. But like right now, I’m sure
my house—because my mother is also a magazine person. I’m sure we have 2000 to
3000 magazine in this house. And it’s just too many. It can get overwhelming
for people. So sometimes having an editor that will feed you things the way
that Long Reads does it helpful for people just breaking into and trying to
figure out how to support that longer reading habit.
Susan:
Well, that’s such a good point. That is an excellent point. Because
you’re right, it can get overwhelming. And we won’t even talk about Texas
trying to consider itself the South. Now Southern Living has even included
them. And I’m like, “Y’all, I am from The South. Just be Texas. Just stick with
Texas. I love Texas. But it is not. It is just not the South. It just isn’t”
Latria
Graham: It’s a very different version of the South.
And there’s barbecue out there.
Susan: Right. And it’s wonderful, but just
be who you are. Don’t try to be something else. That’s a whole other
conversation. I want to switch gears and go back a little bit and talk about
–because I know I have listeners who love writing, and I have listeners who
might be moms right now. And they’re thinking about getting back into the
workforce or they’re thinking about doing something creatively. Maybe they’re
just doing it on their own maybe it’s just journaling. But if somebody is
considering maybe getting a few things published, or writing a few pieces and
seeing where it goes, what would you—because you’ve been doing this for so
long, and you went to such an accomplished…I mean, you went to the Governor’s
School for crying out loud and South Carolina, you went to Dartmouth, you’re
not dumb. You’re really, really, really smart and clearly had very good SAT or
ACT scores.
Latria
Graham: Oh, no, I
was saying mediocre, actually, mediocre SAT scores. I think I had a lot of
ambition. But that’s the thing people think you need incredible score. So I
will let you repeat that again or re-say the intro again. But yeah, I realized
I interjected and shouldn’t have. But yeah, my scores were meeting, my grades
were excellent. But I’m not a great test taker.
Susan: Hey, I get that. I wasn’t either and
somehow, I got lucky enough to get into Converse College. And it’s not
Dartmouth, but I’ve got a college education. And now I forgot was going to ask
you. Oh, yes, I know! If somebody was thinking about really jumping in and
getting into writing and they wanted to try to get something published, how
would you suggest they go about doing that on a smaller scale? Would it be
contacting their local magazine or local publication? Or what does that even
look like?
Latria
Graham: So first, I
would say anybody that journals and journals daily actually has more discipline
than I do, so kudos to you, I am one of those people that writes, sort of when
I’m on deadline, or have an assignment, and I’ve tried. I have 20 journals, and
have not been able to fill them. So that’s the first thing, the discipline to
sit and write even several times a week, I think you have it to work on getting
something published. So the first thing that I would say is the Internet has
made things so much more accessible than it used to. So for people, it depends
on what they want to write. So some of it is doing a little bit of research, if
you want to write Op Ed’s, or personal essay, or journalistic pieces. That’s
how I wrote my first personal essay, it’s like, I googled, how do you write a
personal essay? I knew what my subject was going to be. But first thing was to
sit down with your ideas, give it a little bit of structure, or write and see
where it goes. And don’t be afraid to get rid of what’s not working. If you
have people you trust like that bookshop or writing partner or mentor, somebody
in your circle that also writes or understand, sometimes you can show that to
them and get their trusted opinion. But like, make it as good as you can on
your own before sending it out to somebody. And the reason I sort of emphasize
the internet is like, The Atlantic and the New York Magazine, and a lot of
those places, these people are on Twitter, and their email address is in their
Twitter bio. You don’t necessarily have to start out on the smaller scale, if
you have a story that is compelling enough, or timely enough that it should be
on the national radar.
So that is something incredibly important to
say, like people had essays about their time at Notre Dame and obviously, when
the fire crumbled, they were like, “Okay, this is something that I need to send
in,” or spend time thinking about and get it really good and then send it in.
And so some of it is knowing that you don’t have to have small. But part of it,
the only thing stopping you in some ways is you in terms of competence, I was
really bad about writing stuff, and deciding not to send it in because I was
just worried it wasn’t good enough. If you wanted to start on that local level,
and you’ve written a couple of things, you can have copy, or you can at least
email them at your local newspaper magazine and see if they’ll at least have a
meeting with you. Or you can send them a couple of clips. And when I first got
started right out of graduate school doing book reviews, I did pho clip, which
means that like I didn’t publish them anywhere. I just like looked at what a
book review was. And I sort of modeled myself after that person, but chose a
book that they had not written about, so chose my own book, wrote what would be
considered a standard book review in my voice and use that as clips.
So you don’t
have to necessarily have published-published work in order to have the
resource. They want to know that you can write, they want to know that you can
find a story. And then they want to know that you can turn stuff in on time
because if you have a really great story, but you can’t turn it in, the editor
still has nothing. So there are a couple of different ways to go about that.
But if you really don’t have anything yet, the modeling clips idea works really
well. So modeling clips, coffee with editors that may be willing to entertain
you. Don’t get discouraged. Some of them don’t have time. And then also using
the internet to find the bios of some of the big guys, if you really do feel
like you have a national story.
Susan:
Well, those are really, really excellent points to just have the clips
themselves or smaller pieces that aren’t necessarily pre published that way
they can see that you can actually in fact write. That makes perfect sense to
me that just seems like a no brainer that you might not think of on your own.
So thank you for sharing that. Because sometimes you just don’t think past your
own. You get stuck in the weeds and you don’t really think above like the tree
line.
Outro: Hey Pod Sisters, thanks so much for joining me
today. If you’re enjoying this podcast, head on over to iTunes or your favorite
podcast app and hit subscribe. And while you’re there, I’d really appreciate it
if you would rate and review it in order to make it easier for others to find.
We also have a private Facebook group, the How She Got Here community page and
would love to have you join us there to continue the conversation on today’s episode,
as well as any other fun How She Got Here content. Thank you again from the
bottom of my heart for listening. I’ll see ya soon.
Recent Comments