Fellowship apps, Part I
I’ve been awol because I’ve been working feverishly - and procrastinating more feverishly - on my fellowship applications. One must be mailed tomorrow, the other on Thursday, but I want them both sealed and forgotten before bed tonight, since I fly back to Cali that day and have people to see stuff to do tomorrow. It’s only 3am. Merely midnight in California.
These require two essays, a personal statement and a study proposal. The latter I still need to expand more for fellowship number two, which allows a longer word count. So, here’s my personal statement:
Some people move to China to become journalists. I became a journalist because I moved to China.
Shanghai was a sleepy little town when I first disembarked here in October 1998, fresh from college. My plan was to spend a few months teaching there before returning to Beijing. Things did not go as planned. I had developed a fascination with the Beijing rock scene while studying there in 1997, and I arrived determined to find out what was happening musically in Shanghai. I soon was hanging out with a bunch of scruffy Shanghainese rockers and their equally scruffy artist friends.
I was fascinated and impressed by what my friends were trying to do: expressing their experiences by exploring these “foreign” formats then still viewed as suspicious by their families and society. I grew frustrated at the refrain that Shanghai had no original culture, an assumption made because no one was writing, in English or Chinese, about local art and music. So, I started writing about them, and an arts journalist was born. Personally and professionally, I grew up alongside Shanghai’s cultural scene. My career priority has remained to support Shanghai’s artists by telling their stories, and the support and encouragement have been mutual.
In the late 1990s, there was little international media interest in Shanghai, and only one public English website dedicated to the city. I did a few pieces for that site, and as the only writer familiar with this very underground local scene my opportunities expanded along with Shanghai’s English media offerings.
A year of low-paid freelancing for shifty start-ups culminated in being offered a job editing one of them. The online magazine ChinaNow was a product of the Internet boom, and the brainchild of an American and a US-educated Shanghainese. In my year and a half there as city editor, my coverage scope broadened to encompass theater, history, travel and entertainment. Working with freelancers was as educational and rewarding as it was frustrating, and trained me well for a freelance career.
The endeavor folded with the dot-com bubble, leaving me with several months of unpaid salary, which shortened my initial attempt at freelancing fulltime. I reluctantly accepted employment with the Russian newswire Interfax’s China Bureau editing their general business section, which unfortunately was soon thereafter pared to focus on the energy and metals sectors. My assistants and I churned out a minimum of twenty-four stories a day, mostly translated directly from Chinese industry dailies rather than originally reported. I wriggled early mornings and occasional long lunches to continue doing some arts freelancing, squirreling away clippings and savings so I would have more options when I quit.
I did not initially expect to become a permanent freelancer, but no offers came that were as appealing as what I was doing. I gradually established a list of steady clients and became addicted to the variety that comes with a successful freelance career. Juggling a dozen different publications and as many diverse topics forestalls the repetitive boredom that dooms many a foreign correspondent after a few years in a country. I cannot imagine ever getting bored with China. Frustrated? Yes. Bored? Never.
Freelancing also allows me to avoid doing the clichéd stories that dominate American news coverage of China, with the exoticism and gross generalization than I find patronizing of the audience and insulting to the subject. I have passed on several choice clippings because editors wanted me to sexy it up at the price of journalistic accuracy. Yes, China is a crazily complex place, wonderful and overwhelming and sometimes heart-breaking, but oversimplifying it into the stereotypes of old versus new, traditional versus modern, rich versus poor that many editors and fresh of the boat foreign correspondents are so enamored with misses the point and the place so entirely.
What freelancing does not allow me to do is to focus exclusively on my original niches of cultural and social topics. Being a full-time arts writer requires independent means, and social journals pay even worse than art magazines. Well-paying stories can be an unhappily necessary distraction from the fun stuff, but their necessity has also broadened my exposure.
Three years ago, a friend of one of my former ChinaNow freelancers contacted me about writing for Fairchild, the publishers of WWD and other fashion imprints. Knowing and caring nothing about fashion, I was dispatched to interview Giorgio Armani as my first assignment. Fairchild pays well and on time, an iron rice bowl to subsidize the stories I care about, and my editors are total professionals. Moreover, the direct practicality of trade magazine writing, even for an industry as froufy as fashion, has improved my reporting sensibilities in other fields.
I admit I enjoy the easy access past the red ropes, the surrealism of mingling with the glitterati who have emerged almost overnight in my once sleepy little town. It adds one more perspective, one more snapshot to my album of urban change. I have front row seats for almost every aspect of Shanghainese life: from designers, models and movie stars to the old ladies in my lane to the teenagers at Taekwondo class to the musicians and artists I have known from day one.
Additionally, in 2002 I co-founded the Shanghai Foreign Correspondent Club, and I served as its vice president until 2005, growing it into a 150-member organization. I remain very involved with it, and am proud of having helped establish a journalistic community in Shanghai.
I consider myself a community journalist as much as a foreign correspondent, and an immigrant as much as an expatriate. I am trying to write more about the rest of China, of Asia, of the world, while continuing to diversify by subject matter. I hope to eventually shift to writing books rather than articles, allowing more depth than the thousand word feature allows, and to spend more time in the United States, but Shanghai and its arts will always be my foundation, and I look forward to seeing what will happen here next.