Photo Credit: Death to the Stock Photo
When I started my career in finance, I learned about the power and peril of diversification. Creating a diversified portfolio carries with it an element of calculated risk–too much and you lose focus and expertise, too little rendered you a specialist tattooed with an expiration date. Your work lies in cultivating balance in the extreme so that in the event the ground opens up and gives way, your fall won’t be precipitous, bottomless. A strategic, well-rounded portfolio is the hedge you need to weather industry downturns and personal catastrophe. When I started my career in digital marketing in 2001, many of my peers were recalcitrant–they considered online commerce a blip, a fad that would inevitably fade and their marketing prowess, experience, and education would prevail. They resisted social networks and failed to learn the language of a seismic behavioral and cultural shift that would become omnipresent, ubiquitous. A Darwinian marketplace rallied against them, rendering smart, albeit stubborn marketers, obsolete because they didn’t diversify–they failed to keep up. On the flipside, you’ve seen what happens when one company or person tries to be all things to all people: they end up being nothing to no one. They end up broken, a whole that would never equate to the sum of its parts. They’re reduced to a spin-off, a division excised from the whole, auctioned off to the highest bidder.
For much of my career, I drew a fine line between work and art. Never have the two played peacefully in the sandbox because one was always kicking sand in the other’s face. Work colleagues were hardly aware that I wrote lyrical, dark books and writer friends were always shocked when I used words like “brand positioning” and “customer segmentation”. One part of me made money and the other derived purpose from writing the small stories that rarely registered on the cultural radar. One part of me paid for the other; for much of my own career, I served as my own patron. I had become my own benefactor. For a while, this strange symphony worked. I wrote my first book and published a successful literary magazine while working in marketing at Time Warner Cable and HarperCollins. I started (and subsequently sold) my second book while juggling brand strategy and digital marketing projects as a consultant. But money sometimes gets tricky and soon I regarded my “work” with mounting annoyance. I was beholden to marketing in order to create the kind of stories that bolted me out of bed in the morning instead of looking at it for what it was: another vehicle that allowed for storytelling.
To use an anti-feminist, subjugating turn-of-phrase: I had become my own bitch. And I didn’t like it.
This week my therapist and I talked about how I fell so hard, so fast when I moved to Los Angeles. Part of it was prolonged grief from not adequating mourning the death of my mother (sound familiar?), for sure, but, more importantly, I had spent the year prior to my move in a state of persistent acceleration. There was a cross-country move to plan, projects to land and conquer, a book to revise with my agent and sell, and the subways, the frenetic rush of people, the axiom of living in New York: do it faster! and it was only after I unpacked all the boxes did I realize I had been running on empty. I’d been forced to settle in quiet and I didn’t exactly like what I saw. I told my therapist that I wanted physical and geographic space, to which he responded: from what, your friends? I laughed, shook my head no, then shook my head yes and then said I don’t know. Maybe all of it? Maybe I’d built my life defined as one thing, stuck in that thing, and moving offered the promise of not being the thing people knew, or expected you, to be. I arrived and wrote a good book in two months and then fell apart.
During the journey back, I created a portfolio–you know, your resume in narrative form with pretty pictures and colorful slide dividers because everyone craves the elevated, derivative state. We want our stories beautifully told. We want our personal brands to be luminous, yet accessible, yet aspirational, but still inspiring and achievable. Yet in creating the outline which would morph into the final presentation, I found it difficult to tell the story of me without including the whole side of my life devoted to storytelling. Suddenly, it felt strange to not talk about the dual nature of my life and the value that it brings to bear. I took on a small project for a successful blogger (and dear friend) where I helped her tell her story in professional form. Gone are the media kits and capes decks–I wanted to create something that started the conversation but wasn’t the whole of it, and I found tremendous joy in using my two loves: marketing and lyrical storytelling and profiting from those lives lived without needing to take a long shower.
Today I had a wonderful chat with an acquaintance who served as my editor on a short essay I’d written about going to Ireland with my pop. I’d be referred to her by a friend and she was curious about my background. Could I edit books? Could I develop projects with authors? Could I help authors structure their books and tell their stories in a compelling way?
Of course, I can.
I started talking about all the work that wasn’t on my resume. Editing at Scholastic, working closely with editors in book publishing, editing and publishing a literary journal, butchering my friend’s novels and helping them create structure and refine their voice in their work. I even trotted out the Columbia MFA, although I’m fairly ambivalent about the degree now, and regret the debt that accrued as a result of it. I’ll be paying for my writing to the grave and so on.
As a freelancer coming out of a long hiatus and finally back in the proverbial saddle, I realized that I’d been myopic about consulting. I failed to create a portfolio that spanned my strengths: marketing, digital, social, editing, brand architecture, organizational design/process, writing, editing, brand development, project management and development. I hadn’t mined a network that would account for my diverse skill set. I hadn’t positioned myself as someone who could create, distribute, analyze and refine. It was only this morning did I see the need to have all the kids playing nice in the sandbox because right now I need all the kids to rally.
Now I position myself as a creator, someone who builds things and tells stories, and what distinguishes me is my range, breadth, and depth. What sets me apart is the fact that I color outside the lines and I also create new books in which to color.
This is why I want to remain here. I want to feel the new, uninhabited and unconquered. I want the space to be able to see.