Every now and again, Transport Canada will send me a list of the latest recalls; apparently, the agency gets the notice from the auto manufacturer and just runs it verbatim. So I'm not sure if it was someone at the government or someone at Cadillac, but taking a few bucks out of the kitty to purchase a dictionary might not be a bad idea:
No remedial action is required due to the unlikely-ness of such an occurrence.
I carved this out of a press release I read today. I wish I could say it was the first time I'd ever received something like this, but it's becoming all too common. It's obvious that Spell-Check has its limits, and someone really should dip into the dictionary to learn the meaning of "unique":
The lineage of Zukor's Packard is rather unique: it's first two owners have stars on the Hollywood Walk of Fame.
Webster wept ...
On his blog, Joe Clark of Toronto tackles the thorny issue of ethics in auto journalism, and specifically he takes on The Toronto Star, where I'm published. It wasn't easy to read his entry from my chair, but overall, when it comes to the industry in general, he's right. You can read it by clicking here.
The problem of objective reporting turning into an advertorial crops up any time a product or service is reviewed, but automobiles and travel are the most likely to come under fire, and usually with good reason. That's quite the photo I've posted here. That's the resort where I stayed when I was on the launch of a family vehicle -- one that starts at $20,000. The people who buy the vehicle will probably never set foot in a place like that in all their lives.
I like to think that I do write objectively about the vehicles, no matter what the automaker does, but the public doesn't see it that way, and they shouldn't. I also know a few writers who never met a car they didn't like, because they never met a press trip they didn't like. Some of the old boys quiver with righteous indignation if people like Clark suggest that they have a price, but the fact is, some do. Many of the automakers have eliminated gifts on press trips, which didn't go over too well with some of them. (Mark Richardson, the editor mentioned in the story -- my boss -- tried to pass a ruling a couple of years ago with the Automobile Journalists Association of Canada that no member would accept gifts from automakers. It was voted down.)
I am the first to admit that I benefit from the perks of my job, and that I'm also guilty of non-ethical behavior. I've travelled to places I normally would never have a chance to visit (and Clark failed to note that the journalist, not the car company, keeps the frequent flier miles). I have kept many of the gifts. I have stayed in hotels and resorts I could never afford, eaten in restaurants I could never visit otherwise. That's the way this game is set up. It's not right. But short of quitting my job, I honestly don't know how to fix the system. I really don't. I wish I knew the answer.
As a freelancer, I work at home, rather than in an office; there are times I feel like I'm working in a bubble. That's why it's nice to get feedback from readers, whether it's through the printed newspaper or my online work. But every now and again, well ... let me share some examples from the mailbag.
The conspiracy theorist: A reader wanted me to investigate and expose GM for false advertising, claiming that it was advertising a car at a higher mile-per-gallon average than he figured its L/100 km rating was when converted. I investigated ... and reported that if he'd converted into Canadian gallons, instead of the smaller American ones, the math would work ...
Now there's an incentive: The inventor of a new auto-related product asked me to feature the product in a story -- in effect, a free ad. In return, he said, "I promise to read all your stories twice each time if you do."
I must have been asleep that day: A reader chided me for writing about new cars, and giving up my newspaper column on used cars. I told him I'd never written a column on used cars. He said I had, called me a fraud, and said he'd check the previous issues to prove it. Needless to say, I didn't hear from him again...
Feeling gassy: A reader was told by the dealer that her brand-new vehicle had been filled at an Esso station, but she wanted to patronize the Petro-Canada station closer to her house, and asked me what damage she might do to the engine by changing brands.
I think I saw that already: A reader mailed me a copy of a magazine article on old trucks, thinking I'd be interested in it. He apparently didn't notice that I'd written it.
Yes, that's a good reason: Someone complained when I found fault with a Pontiac; I needed to "stick to the positive," he said, "because GM employs the most people per car."
Ooookay: I mentioned that two mechanically-identical models had "unique sheet metal" to describe the styling. Someone wrote and told me I was wrong; he'd called the company, who confirmed they used the same type of sheet metal in both.
I'll get right on that: "Would you mind ranking, in order, the safest minivan to the least. Also, please confirm my assumption that American cars use soft metal that quickly loses its compression, thereby increasing fuel consumption after only five years."
Beverly Rae Kimes has passed away. If my calculations are correct, she was 67. To say that the automotive world has lost a giant in the field is an understatement.
A writer and editor since 1963, Kimes had the helm of Automobile Quarterly for many years, and was a contributor for decades. She was the author or editor of more than twenty books, including the definitive history of such makes as Packard and Mercedes-Benz. She was also a rarity, a female writer and historian in a male-dominated field.
I had the opportunity to interview her by telephone in 2002 for Old Autos newspaper, and the first thing I mentioned was that when I first became aware of her writing, I assumed from her ambiguous name that she was a man. She said that just about everyone made that mistake, but in the early days, it was to her advantage: her meticulous work earned her a place on the page, and "By the time they found out I was a woman, (at a time) when women weren't regarded as favorably as they are today with regard to the workplace, I had already established myself," she told me. "I had been writing for several years, so they couldn't really take that out on me at that point."
Although she would gain a reputation as one of the top historians in her field, she told me that she'd known nothing about cars when she started. Fresh out of college, she first got a job with a theater magazine that folded shortly thereafter. Sent on a lead by her agent, the job turned out to be the fledgling Automobile Quarterly. Although she admitted her ignorance of automobiles, the editor hired her anyway, on the basis of the research she did for her Master's thesis. Her first story, on the Curved Dash Olds, sparked an interest in finding out the story behind the vehicles.
My story on her contained a minor error, which most readers would never have caught, but Kimes was mortified, especially when I showed her the transcript of our interview and she found the error was hers. I didn't realize it at the time, but she was recovering from a serious illness, which left her a little fuzzy at times. She requested (and received) a correction; her attention to detail would have allowed nothing less.
Kimes entered the field during the infancy of writing about automotive history, and along with a small handful of peers, she set the standard both for research, and for the stories that resulted. Every auto writer who's ever turned a key owes a debt to her, especially women writers, for whom Kimes put a foot in the door. I know I certainly do; all I can say is, thank you.
Every now and again, I do a Google search on my name, just to see what's there. (C'mon, admit it, you do it too.) It seems I'm frequently a topic of discussion: I have a fairly sizeable fan club which, as the saying goes, wouldn't walk across the street to spit on me if I were on fire.
They're enthusiasts, and their basic complaint is that I don't write what they want to read. It's one of the major quandries of the profession: what audience are you trying to reach?
When it comes to automotive work, I find there are generally two types of readers. The first are people who aren't all that familiar with automobiles, and they're using reviews as a tool to help them make a buying decision. The second group consists of very knowledgeable drivers, who usually aren't buyers, and who read the reviews mostly for entertainment. My anti-fan club comes from this latter group; their main complaints are that I'm not technical enough, and that I talk too much about aspects of the car that don't interest them, such as wasting word count on cargo space and interior appointments.
Long ago, I decided that I wanted to focus on the first type of reader. I like helping people; I like explaining things to readers. I think the tone of my writing is suited to those who want to be walked through a car from bumper to bumper. The bulk of these readers will never take a car on a track, or feel the way it handles when tossed around a switchback. I respect the enthusiasts who do, but I'm not writing for them.
When I first started reviewing, the newspaper put me strictly on economy cars. I took a ribbing from some of my colleagues, who asked when I was going to start writing about "real vehicles". It bothered me, until one very wise writer said to me, "Someone who's spending $75,000 on a sports car doesn't give a damn what you think. But someone who's only got $16,000 to spend does, because she's depending on you for guidance."
That advice is as fresh today as when I first heard it. Decide who your audience will be, and then write for it. There's a large market for the entertainment articles, and I very seriously admire the brilliant work in publications like Auto Week and Car and Driver. But there's an equally large demand for bread-and-butter stories, and that's the direction I chose. First and foremost, it pays the bills, and secondly, it gives me satisfaction to know that my articles can be helpful to people. And third, it gives my anti-fan club something to talk about each week.
There are three things in the world everybody wants to be: a movie star, a famous musician, or an automotive journalist. And while everyone realizes there's a tremendous amount of work and a fair bit of luck involved in making a go of the first two, many people think the third one is a piece of cake.
Here's the reality: yes, of course it can be done, but it's not as easy as it looks. And I'm not telling you that because I'm afraid you'll turn into my competition, but because that's the way it really is.
First and foremost, an automotive journalist is a writer. And I'm going to be brutally honest and say that just because you can write a letter, it does not make you a writer. Writing is like music: it involves some natural talent, which then needs to be honed through a great deal of practice. I don't think there's a writer on the planet who doesn't look at his or her earlier work without cringing. If you think you'll one day get to the point where you can't get any better, then you've got a lot to learn.
Okay, so you can write, and you know something about cars -- where do you begin? Usually it's at the bottom. I started some 30 years ago by writing pieces for a local car club's newsletter for free. And I also started my rejection letter collection. Every writer gets them, no matter what the subject or how good the writer -- sorry, we feel your work is not appropriate for our publication. So you spend a few seconds wallowing in self-pity, and then you try to make your piece better, and then you send it off again. (Under my Magazine Features link to the right, you'll find one for an article called Rejection or Refusal, which you might find helpful.)
Whether it gets recognition, whether you get paid well for it, the goal is to have published stories that you can put together for your portfolio, which is what you show to editors to prove to them that you can do the job. Writing is a funny profession in that it can help to have a specialized education, but whether you do or you don't, your work will do the talking for you. The editor doesn't care if you've got a diploma in journalism if your work isn't right for the publication. (For the record, I don't have one; I never went to university.)
There's no magic formula for getting your stories in print, aside from hard work and perseverance, although I can tell you what won't work. You won't get very far if you bully editors, call auto companies demanding to be given test cars, if you turn in sloppy work, or if you try to present credentials you haven't earned. And with so many people out there running after a limited number of writing positions, you've got to stand out. I will admit that the novelty of being female in a male-dominated industry has sometimes helped me (although a few times it hindered me in the early days of my career). But I also carved out a niche for myself by reviewing the economy cars that some of my colleagues wouldn't be caught dead driving, and by writing for people who bought cars they didn't understand -- which is the majority of consumers -- by never using a term without explaining it.
And while it is possible to make a good living at writing, it takes time to get to that point. It was only in the last few years that I was able to quit my secondary jobs and devote myself full-time to writing. I also supplement my income by writing a lot of articles that are not related to automobiles. But the big thing is that you have to consider this as a job, and it's one that doesn't necessarily come with regular hours. On the Saturday nights when you're out with your friends, I'm often here at the keyboard because a story is due. If you don't respect deadlines, the editor won't respect you.
If any of this turns you off the idea, then by all means write because it pleases you, but don't expect to become a professional writer. On the other hand, if you can look all of this in the eye, take a deep breath and say okay, I'm ready, let's get this show on the road -- then here's hoping that combination of talent, skill, hard work and a bit of luck all comes together for you. See you in the papers.
I’m a freelance writer and a member of the Automobile Journalists of Canada. My regular outlets include new-car reviews and special-interest articles for The Toronto Star (Wheels section); new-car reviews and news reports for Canadian Driver, where I’m also the Assistant Editor; articles on antique cars for Old Autos Newspaper; and articles in the industry trade magazine Tire News.
But I’m more than just cars: I also write about food and drink, travel, pen collecting, celebrity interviews and pets, among others. My work has appeared in such publications as Harrowsmith Country Life, Pen World, Dogs In Canada, Where New Orleans, Rural Delivery and Writer’s Journal.
