5 creators on their best advice for young journalists

Amid mass layoffs and magazine closures, woo asked strategists, podcasters, Substackers and freelancers about how to survive independent journalism

By Darshita Goyal29 Feb 2024

10 mins read time

If you’re a creative in and around the media space, you know that things feel bleak right now. From the closure of POC-led, gender diverse zine gal-dem and mass layoffs at Bustle, Buzzfeed and Insider to media giants including Vice and i-D halting publication and Pitchfork being absorbed by GQ, the loss of thousands of jobs across the board – and a subsequent hit at quality indie journalism – is truly heartbreaking.

Twitter (X, whatever), a platform that was once the breeding ground for new journos is quickly becoming a space to mourn and express frustration at the current state of the media. Amid this, students and young writers are graduating into overwhelming doom and worry, as people are questioning whether it’s still “ethical” to teach journalism as a subject.

Sadly, we can’t take away from the despair and uncertainty that clouds the media landscape – it sucks, and you’re allowed to be angry. But this is hardly the end, and is in no way a definition of your future in the industry. As a reminder of that fact, we asked a selection of podcasters, Substackers, strategists and freelance writers who found a path outside of traditional journalism for a blueprint of their journey.

How did they start? What makes them stand out? How do they make money? Read on for real world, gritty and empathetic advice from creatives who don’t want you to give up on journalism.

Ruchira Sharma, podcaster and freelance writer

How did you start doing what you do?

I started out as a journalist in 2017 (interning for Vice) and landed a full-time staff writer job at a newspaper the year after. I went fully freelance in 2022, after regularly writing for other publications on the side and intentionally soft-launching a freelance career for months. That same year I essentially trained in audio by applying and getting onto a Spotify initiative for women of colour to create a podcast pilot episode called Sound Up. As far as I'm aware, the initiative doesn't exist anymore as of last year (another victim of the devastating cuts across the industry). But I'd keep an eye out for things like Multitrack, which offer routes into audio.

After graduating from Sound Up in 2022, I began sharing what I'd done on social media and asking for meetings with production companies to try and pitch my pilot and get it off the ground. Through that process, I was approached by other companies who weren't looking to commission a series like mine, but were looking for a host for ideas they were already working on. That's how I became the host of the two podcasts I now work on: Everything is Content, a weekly pop culture series, and Anatomy of a Stalker, an investigative audio series on why people stalk.

How do you monetise your work?

With written work it's a simple case of paid commissions. For audio work it's a mixture of things. One of my podcasts was commissioned with a media company so I went in requesting a day rate per episode and that was agreed on. For the other podcast, we've launched it independently with a production company and via Acast, so we get paid depending on the number of downloads we get in connection with the ad revenue that generates. Essentially we’re rewarded for growing the podcast, almost like a business. We can also get brands to sponsor the show and receive payment on top of that.

What advice do you have for young writers looking to enter the media landscape?

The first thing isn't advice, but just an important piece of context. When I started out, there was a cry that journalism as we knew it was over. Everyone said written and long form work was dead, and there was a ‘pivot to video’ with money going straight to those corners and away from staff writer positions resulting in lots of layoffs and redundancies across the board. I was laid off from my first journalism job within three months. It was a grim entrance into the industry.

Things are definitely very very bad right now. But there have been shades of bad for the past decade. I have seen that these don't last in the same way forever, and I really hope that this is also the case now.

In terms of tangible advice, I’d say consider getting a full-time or part-time job to weather the current situation and writing outside of those hours or as a second job if you're newer to it. That's what I did for a long time, and it was the most secure I felt until I could make a case for making enough money to support myself full-time.

The other thing I’d suggest is training in a range of things: audio editing, video editing, social media, among others. Start building a portfolio of whatever it is you want to be. If that’s a podcaster, start making a series or a pilot on your own to show to employers or companies. If it’s writing you want to do, start building up the titles you've written for and the number of bylined pieces you've been commissioned for.

Effy Okogba, CEO, The Digital Fairy

How did you start doing what you do?

I'm not a writer but I have worked in the publishing industry for the majority of my 15-year career. After a few failed attempts at breaking into journalism post-university, I secured my first job at National Geographic, working in their global branded content team. I relished the opportunity to work for brilliant creatives and editorial minds, hoping that some of their brilliance would transfer to me via osmosis.

That job was an incredible learning experience and became the stepping stone to my career since, which has spanned heading up the commercial and editorial team at Refinery29, and now working closely to build our editorial arm, The Digiverse, at The Digital Fairy. Being open to a non-linear or squiggly entry-way into the industry is really key, particularly given the changes we have seen in the media landscape over the last few years.

How do you differentiate yourself from other media?

We’re a creative agency that doesn’t work as a global news bulletin or a promotion board. Instead we believe that through our content we can give a voice and platform to emerging and influential parts of culture, through the actual people and communities that are actively involved in creating it.

We try not to decentre those who are sparking trends and propelling culture forward from the editorial, and always aim to give credit where it is due. Our team are also anthropologists at their core, something that is hopefully evident in our content which is always created through the lens of impact for the audience, whether that is entertaining, educating or sparking interesting conversation.

“We have witnessed media juggernauts that were once considered ‘too big to fail’ become obsolete or cease operations over the last few years”

Effy Okogba

How do you monetise your work?

We are a creative agency so our commercial arm is largely separate from our editorial work. Although there is a strong alignment in terms of brand values, editorial theme and audience, we have been exploring working with brands to create content that we publish and distribute via our TikTok.

What advice do you have for young writers looking to enter the media landscape?

We have witnessed media juggernauts that were once considered ‘too big to fail’ become obsolete or cease operations over the last few years. Although a more traditional route into journalism and communications might feel tricky to navigate for young writers, the emergence and growth of platforms such as Substack and Patreon is exciting in that it enables writers to fully shape and own their creative identity and work, while also being able to monetise that work, too. For too long now, talented writers have built up huge audiences and great engagement on the behalf of companies and it’s great that there are platforms that allow writers to build a community with readers more directly.

Amelia Tait, freelance features writer

How did you start doing what you do?

I started freelancing on the side of full-time jobs, and that's the path I'd recommend to anyone hoping to make a full-time freelance career. It's never been particularly sensible to simply take the plunge – instead it's better to work on freelancing in your spare time, to build up a reputation and relationship with editors. It's important to have a couple of month's rent saved before you go full-time freelance because payment terms are often 30 days, so you can find yourself without a pay cheque at the end of your first month freelancing.

How do you differentiate yourself from other media?

I've always found it very important to have a niche. Mine was digital culture at a time when mainstream papers didn't report anything with the word ‘YouTuber’ in it. This isn't a niche today – you can't move for stories about TikTok trends – but there are so many others out there. I’d ask wannabe journalists to think about something they know about that’s currently being undercovered or ignored. If you can’t think of anything, instead think of a way you could cover a topic differently. When starting out, I would create surveys and gather responses so that my pitch had original data and therefore would stand out. What can you do that AI simply couldn’t?

What advice do you have for young writers looking to enter the media landscape?

Once you've got a few bylines with an editor, you should never be afraid to ask for more money. The worst they can say is no. You needn't offer any excuse about the cost of living – good work is good work and you can simply make it clear that you know your value. It can be scary to stop working for one publication because you've decided they don't pay enough, but you'll find the money adds up far quicker if you are pickier. Of course, when starting out, take whatever pay you can – but once you've built your portfolio, know your worth! US publications often pay far, far better than English ones.

I think it's really important not to expect your dream job straight away. I worked for some pretty shoddy websites and wrote things I desperately didn’t want to but it's how I grew and improved. There are so many more publications out there than people think, be they local newspapers or niche magazines about knitting. It's not all about the big-name papers, which sometimes pay less than small hobbyist magazines.

You can also seek out a mentor, be it through official programs like Creative Access or unofficially, by reaching out to a writer you admire. With a little bit of flattery, you'll find most are more than happy to offer advice.

I'm not going to sit here and say journalism will make you rich, or that there aren't more lay-offs coming. But if this is what you truly want to do, there are ways forward. If you're prepared for it to be hard and a little bit scary, then go for it.

Ria Chopra, Google Youth Advisor and editor-in-chief at Stumble

How did you start doing what you do?

I was always interested in journalism, and interned at media houses when I was in college studying English Literature. On a whim, I applied and got an offer for a management consulting role, and decided to accept that job (I actually enjoyed it and ended up spending two years there!) But I didn't want to lose touch with writing and journalism, so I began to freelance on the side. My writing work flourished, I was able to build an audience around culture commentary online, and I’ve recently been able to leave my full-time job and freelance full-time as a writer, editor, and creative strategist.

How do you differentiate yourself from others in the same space?

My primary differentiator has always been an urge to don many hats – I’ve never liked to be just one thing, not as a person, not as a career. I was able to balance my full-time jobs along with my writing work, and also shift from industry to industry chasing my interests and curiosities. This openness to risk has helped me adjust to many shifts in the space.

I could see the layoffs and general instability in the industry last year, so I diversified into advisory, strategy, and research capacities – all of which I’ve always found interesting. I also find it easy to exist online – I like the internet, and for the most part the internet likes me – and I have been able to build a community around culture commentary, trivia and funny tweets. Having this audience sets me apart from other writers who may not have the same kind of readership.

How do you monetise your work?

I had to teach myself to be confident enough to ask for what I'm worth. I was lucky to have good editors in my early writing days who paid me well, increased my rates if I started writing for them regularly, and sent more opportunities my way. So I knew that a healthy payscale in writing was possible, but you sometimes need to push for it, and put your foot down and say no to opportunities if they aren't respecting you by paying you fairly.

My writing around culture also means that a lot of people know me as someone who is tapped into cultural shifts, trends, and Gen Z thought – and this has helped me get work in strategic and advisory capacities with organisations and brands in marketing, creative, and research spaces.

What advice do you have for young writers looking to enter the media landscape?

If you're just starting out, have a backup plan – for me, stepping into media was easier because I spent my first two years with a different full-time job and a stable salary, and so I was able to experiment a bit and find my footing as a writer. Having a Plan B doesn't make you any less of a creative person, and being a freelancer or part-timer doesn't mean you're not a real journalist. Only fling yourself fully into the ocean when you know you can swim. It'll take extra time and effort, but your mental health will thank you.

“Having a Plan B doesn't make you any less of a creative person, and being a freelancer or part-timer doesn't mean you're not a real journalist”

Ria Chopra

Also don't box yourself in as just a ‘writer’ or any one role – there are so many things to do in the creative spaces, and you should try to grab as many opportunities as possible. Explore and stretch your skillset, see what you enjoy. Chasing your interest can be risky but if you do it smartly, you will become very good very fast, you will build a niche, and you'll stand out as someone who is both good at and enjoys their work.

Learn to promote yourself – both online and offline. Always be open to learning new kinds of work. Be nice to people, and build good, solid relationships with people you like working with. Soft skills can help a lot in times when even hard skills don't guarantee job security. And remember that getting laid off, needing a break, or shifting careers is never a sign of failure – it's a chance to do something better that you enjoy more.

Holly Beddingfield, founder of Capsule and creative strategist at The News Movement

How did you start doing what you do?

Before Capsule, I co-founded The Know, which you may know as @theknow.media on Instagram. It’s a newsletter-first media company with a mission to help women have a healthier relationship with the news. We were a tiny team, and I learned first-hand how to create a brand, grow an audience, nurture that audience, work with other brands, all while creating and maintaining quality content. It was a lot!

But there’s no better way to learn quickly than being thrown in at the deep end. That was the second thing I did out of university – I have an English degree, my first job was a few months in copywriting-slash-marketing, and I dived straight into The Know from there. I left after four years with so many skills, and joined The News Movement, where I do creative strategy. A few months into my new role in 2023, I pitched to start Capsule as a sister brand to TNM, and that’s where we are today. I guess that’s another lesson – nobody asked me to do this, I wanted to, and figured out a way to make it happen!

How do you monetise your work?

Capsule is less than a year old, and our focus is currently on growth. That being said, we’re starting to earn a very small amount from ads, and are plotting the road to a paid tier or membership of some sort. I believe in paying for the stuff you enjoy. I pay for a few newsletters myself, and while it may have felt unusual at first, it feels so normal now, and I get so much out of those publications. They inform the conversations I have with people I love, they teach me to look at things in new ways, they fill the passing of time with pleasure. What could be worth more?

What advice do you have for young writers looking to enter the media landscape?

I’m always really impressed by people who are creating the stuff they want to without asking for permission or waiting for the perfect job to come around. If you write, you’re a writer. You don’t need a staff job to prove that to you. Of course time is scarce if you’re trying to make money elsewhere, but even a couple of hours a week adds up.

I run a small writing club outside of work to make space for creative writing and have been surprised that showing up for two hours a week there makes me feel like I’m ‘doing it’, even though it's comparatively such a small slice of my life. Do what you can! I would also say it’s a good idea to get interested in the business models around media – it may not be your passion but I think it’s important to know where the money comes from, why that’s the case, and see where you can angle yourself within that.

None of us are working for free, so think about how the money comes in and what you can do to help generate more to keep it going, whether directly or indirectly. I know lots of people resent thinking like this, but for me it’s step one and we can get creative from there.