June 20, 2023

Keep brands weird: The research framework for divergent content

Originally published on The Content Technologist on June 1, 2023, as “Keep brands weird: The research framework for exceptional data-driven content.”

Content strategy is a dance. It takes artful maneuvering to charm humans with poetry, appease algorithms with keywords, and win revenue with strategic budgeting. But you can't stun the audience if you're using the same moves as everyone else. 

With algorithms homogenizing our feeds, it takes extra effort to look outside the usual places for inspiration. The good news: your competitors are as uninspiring as ever. The bad news: you run this risk as well if you’re feeding yourself the same inputs—using the same public AI platforms, drinking data from the same APIs, or reading the same newsletters and trend reports as everyone else. 

These sources can provide utility, but creating content with an edge requires diversifying your inputs. Your brand won’t stand out unless you search deeper and farther than everyone else. Unless you build your own ethnographic toolbox and travel to unexplored internet highways and data troves, you're going to have a hard time making something new.

As Landor & Fitch Executive Director of Insights & Analytics, Americas Maarten Lagae advises, don’t rely on convenient data for strategic decisions:

"If you’re planning to manage a brand by simply looking at social media data, you might as well drive your car on the highway just using a flashlight…It requires more rigor, time and resources to find multi-faceted answers and develop solid business cases that unlock budgets, board approval and ultimately business growth."

Not every content professional has a research team feeding into their work. If you need to seek out project insights yourself, this content research framework will help you find the right data—not just convenient data—for content strategy that makes a difference.


I also presented this at The Content Technologist's NYC community gathering in June 2023. Click here for my Figma deck, speaker notes, and one content joke.

content-research-fraamework

Today, you'll learn:

  • How to diversify your inputs and do better work in an era of homogenization
  • How to source the right data and maximize insight
  • How to use the content research framework — with examples of using mixed methods across business use cases: brand positioning, performance reporting, tactical copywriting, campaign dreaming
co-collected-internal-data

Co-collected internal data reveals human context

What: Qualitative brand positioning and perception insights

How: Conducting internal employee interviews and surveys

When: During onboarding audits and key company moments like a rebrand, strategy pivot, or new product launch

Why: To understand the human dynamics behind brand perception. 

Questions to answer: How does external brand positioning match internal perception? Where are the gaps and opportunities to bridge this? What are the underlying organizational norms or cultural biases behind company language?

Whether you've just joined a company or started consulting for one, consider who might be able to offer brand perception insights, outside of your main stakeholders or collaborators.

Employee interviews are an effective way to glean brand insights, but they're also time-intensive. You might not be able to get a 30-minute interview with senior stakeholders across teams, or you might not think to spend time with more junior team members.

Complementary mini-surveys can scale insights and surface trends faster than conducting individual or group interviews. You could also run a survey first, and then use trends from the findings to inform the questions you ask in deep dive interviews.

Try asking employees to describe the company's value proposition in one or two sentences. Pretend they're introducing the organization to a prospect at a conference, without looking at the website for reference.

voice of the employee research

Collect the survey responses in a spreadsheet and note keyword trends. See where it deviates from the language you're hearing from executives. Make a checkbox to mark how many employees mirror executive phrasing, and see what percentage it is. Don't be surprised if it's just 1/4 of the company. That gives you a sense of how far the vision has trickled down, and where the reconciling work is to be done.

For sample size, be strategic. You don't need a huge sample if you're talking to key stakeholders who have influence on decisions and team training. And if you'll be manually analyzing open-ended responses, 15–20 respondents is a good cap to protect your own time while still getting an accurate look at the brand.

self-collected-internal-data

Self-collected internal data reveals historical context

What: Quantitative brand and content performance insights

How: Pulling metrics from tools across the organizational tech stack

When: Onboarding audit, and key reporting moments that inform future strategy (e.g. an end of year review)

Why: See where past actions went right or wrong, so you can double down on the right and avoid the wrong. 

Questions to answer: What strikes you about the data? What validates your intuition or surfaces new insight? How might these findings back your next decisions with confidence?

There's no way around deep data analysis. If you're in-house, dig around. If you're a consultant, ask for metrics reports across platforms. Even if you might not use them, it's better to have more than less. Look everywhere:

  • website traffic and engagement reports (GA4)
  • revenue and leads (Salesforce, sales enablement platforms)
  • email and campaigns (ESPs like Hubspot, Mailchimp)
  • editorial and creative operations (project management tools like Airtable, Notion, Asana)
  • social media (platforms like LinkedIn, Twitter, YouTube)
  • product analytics (tools like Amplitude, Mixpanel)
  • brand tracking and media monitoring (tools like Meltwater, Morning Consult)
  • your notes (anecdotal stories and screenshots collected over time or requested from your clients and client-facing teams)
reporting trendlines

Download all the reports, close Slack, and get dirty with the data. For example, your conclusions and recommendations might look like:

  • It's worth investing in deep subject matter expertise, even in this economy, because last year those packages contributed to up to 30% increase in QOQ revenue.
  • Let's continue to publish quality over quantity, because last year web engagement increased during the quarter that publishing volume decreased.
  • Let's refine our process to identify marketing-ready client partners with sales, since 7 out of 10 of our top performing content pieces were partnerships with strategic accounts.

A tip on how to extract insights from the data, from one of my ex-consulting VPs: "I sit, and I think really hard."

self-collected-external-data

Self-collected external data reveals market context

What: Qualitative market and persona insights

How: Doing desk research, reading industry publications, following thought leaders

When: Always on!

Why: Understand the language of your target audience. 

Questions to answer: What's familiar or foreign to them? Where are the nuances in how they operate? How might you quickly internalize their world and reflect it in the content you publish?

Writing case studies and articles? Website landing page copy? Marketing and sales emails? Check out:

  • Industry reports: Scan McKinsey, Gartner, Forrester (etc.) whitepapers for industry trends and challenges
  • LinkedIn bios and websites of key clients and prospects: Pull Salesforce data or ask for lists of target customers, along with job titles. See what language they use to describe their successes and passions.
  • Press around key clients and prospects: See the potential newsworthy impact your company can enable, so you can channel that charisma and speak to your clients' future successes with concrete examples

If anyone has success stories of using generative AI to expedite this research process, I'd love to hear them.

co-collected-external-data

Co-collected external data inspires weird ideas

What: Hybrid quant/qual cultural insights

How: Engaging with communities, inside and outside your industry

When: Always on!

Why: Enrich your inputs with the unexpected. This quadrant yields award-winning content and puts you on the map of those you aspire to be like. 

Questions to answer: What's the content that no one's searching for — yet? What's the stuff that's hard to scale? What can you learn from communities that see the world in a different light?

My favorite quadrant is the wild child. Go to industry conferences and meetups, speak up in Discords and Slacks, join your local club for your weird hobby. (Or if you're like me, sit at the bar and write poetry.)

At NewtonX, our Head of Brand & Marketing Jackie Cutrone had the idea to do a New York Mag-inspired culture matrix, but for B2B research instead of consumer trends. We brought this to life through the 2023 Insights Matrix, a fun selling tool that showcased our client partnerships and industry expertise.

newtonx insights matrix

For Currant, my food media collective, our editor Sarah Cooke proposed the concept of Climate, Changed: a series on climate change through the lens of jam producers. It became a year-long project that took us in original reporting across six producers across the US.

Creating newness requires a long game approach to ROI. These explorations shouldn’t be measured the same way as top-of-funnel lead generation efforts or bottom-of-funnel conversion tactics. Beyond getting eyeballs to your website or pushing them to purchase, wild card initiatives get users to stay, luxuriate, and wander around. They enable your audience to enjoy your brand, and yield customer loyalty and retention. 

It also requires the right timing. First, build stakeholder trust and organizational credibility so you're insured through uncertainty. Then, ship the weird and watch the waves roll in.

Use the content research framework to channel multifaceted curiosity into content success

There you have it: the map of the content ethnographer's research toolkit, applicable whether you're working in-house for a brand or independently consulting for one.

Remember: you won’t see the whole picture by examining each quadrant alone. Internal data will show you where you're at, but not necessarily where you're aiming to be. External data won't be customized for your business. Individually collected data is limiting; collectively sourced data isn’t scalable.

For the framework to work, you need to be pulling from every quadrant — applying mixed methods to your research and multifaceted curiosity to its synthesis. You'll find the gems of insight by putting in the effort to excavate them and polishing them until they shine.


Interested in more creative strategy insights? Subscribe to my newsletter hyperdisciplinary and The Content Technologist.

Thanks to Arikia Millikan and Deborah Carver for the edits.

May 4, 2023

How to boost creative strategy with visual concepting tools

Originally published on The Content Technologist on March 16, 2023, as “Why content strategists should add visual concepting software to their toolkits.” 

ChatGPT and its generative friends may look shiny, but don't forget about the jewels we already have. We've barely scratched the surface of existing content tools designed to enhance our capabilities as content professionals. Want to articulate your audience's needs in new words? Stretch your vision in new ways? Make millions? Algorithms alone won't hit these goals. But there is a suite of tools designed to coax out creativity in the collaborative process, enabling you to be more efficient on the way.

Visual concepting tools like Miro, Figma/Figjam, Mural, and Apple’s Freeform have started to branch into the strategy, brand, and content disciplines over the past decade—and are projected to be a $6B+ market by 2030. They present rich canvases to materialize and communicate vision, a far cry from algorithms that fill content templates with uninspiring words to edit.

While these tools have traditionally saturated the “builder” disciplines like design, web development, and product management, there's much opportunity for "thinker” disciplines—like strategy, marketing, and content—to tap in. These are not only design or collaboration tools, but tools for thinking.

Content requires nonlinear thinking. This takes both strategy and imagination. It pulls from diverse, unrelated concepts and synthesizes them into ideas that bring unique business value. Thus, linear Google Docs won’t cut it when you need to develop content strategy for a website in design conception phase, or show a designer how text should lay on a complex visual. Content strategists need tools that enable us to explore and synthesize nonlinear inputs quickly. We need digital sandboxes where we can get messy with our hands.

As a writer who designs and a designer who writes—for organizations from the Fortune 500 to Michelin restaurant teams, ranging from bootstrapped to venture-backed—I find visual concepting tools indispensable. As these tools have evolved, both in capability and positioning,  their learning curves for mastery have come down, enabling non-designers to add them to their toolkits.

A brief history of visual concepting tools:

  • 2006: Google Docs launches
  • 2011: RealtimeBoard and Mural launch
  • 2015: Figma launches — "as in, figment of your imagination made real"
  • 2019: RealtimeBoard rebrands as Miro — "Derived from Joan Miró, the Spanish painter and sculptor who painted bright, bold murals of surreal amoebic forms. His vibrant, energetic work was a perfect metaphor for bringing ideas to life."
  • 2020: Covid-19 launches, eliminating scenarios where teams gather around real-life whiteboards with real-life stickies
  • 2021: Figma launches Figjam, an online collaborative whiteboard on top of their existing interface design tool
  • 2022: Mural rebrands as a collaborative intelligence company and acquires LUMA Institute to offer training in design thinking and collaborative problem solving
  • 2022: Apple launches visual collaboration app FreeForm with its most recent OS, and our only choice is to accept
Joan Miró, The Tilled Field, (1923–1924), Solomon R. Guggenheim Museum

Both Miro's concept of "bringing ideas to life" and Mural's initiative toward "collaborative intelligence" speak to more than facilitating design and visual communication. These visual whiteboarding companies are signaling they're in the business of strategy. And strategy-plus-design is a much bigger market than just design. 

Because "what vision does is find concepts,” says Mary Potter, an MIT professor of brain and cognitive sciences. “That’s what the brain is doing all day long—trying to understand what we’re looking at.” Given how quickly executives need to digest information to make business-critical decisions, communication methods must evolve to keep up. We’re no longer tied to wordy memos or linear slide decks. We now have more fluid tools that can depict the flow of nonlinear strategy, instantly.

Not every campaign needs a brainstorm of digital Post-It notes, but can you think of at least one this quarter? How might you use the possibilities of the tool to concept more interesting projects? Tell more compelling stories to validate your creative pitches? If all your ideas are straightforward enough that they never outgrow the form they're seeded in (like a doc), then maybe that's a sign to try something new.

Today you’ll learn how to use visual concepting tools across five different strategic use cases:

  • Copy and design collaboration
  • Strategy and design collaboration
  • User research and data analysis
  • Creative brainstorming
  • Anything low stakes that you can test!

Or at least you'll try, and maybe fail, but at least you’ll learn how they work best for your needs — whether you're in-house or independently consulting, for B2B or B2C.

1. Copy and design collaboration

Copywriters typically work in docs and designers work in design software. But what of the crossover? How might visually inclined copywriters or copy-inclined designers take the extra step to help each other out?

Mockup (left) and final design (right) of the 2023 Insights Matrix we published at NewtonX (Series B B2B research company), inspired by NYMag's Approval Matrix. (Team: Jackie Cutrone on strategy, Clare Lagomarsino on design, me on copy and strategy)

Do you have visual ideas that you struggle to articulate clearly? What about an ambitious campaign idea where copy depends on visual placement and vice versa? A picture tells a thousand words. Visualize your briefs to smooth out collaboration between copy and design and minimize room for misinterpretation.

In the case pictured, writing directly into Figjam meant I could edit and rearrange as I pleased, in concert with the final design placement. This yielded zero design revisions — even more elusive than inbox zero.

2. Strategy & design collaboration

A landing page brainstorm conducted with design, production, growth marketing teams, and brand marketing stakeholders. (Team: Clare Lagomarsino on design, Jackson Bell on production, Ryan Toner on growth, me on content strategy)

While brainstorming landing pages that check SEO and brand boxes, filling a digital canvas with full-page screenshots of inspiration saves time during meetings and prevents the chaos of switching sites while screen sharing. It also enables each collaborator to add their commentary aligned with the aspects of designs that stand out to them.

In the illustrated example, the design team’s pushing visuals and interactivity, the growth team’s speaking to search engine authority and leads, production’s grounding us in what's feasible within a set timeline, and brand’s weaving it all together. Impactful creative happens when domain experts collide in the same room.

3. User research and data analysis

Developing brand positioning insights for Stagetime, a seed stage market network for the performing arts industry. This was the preliminary draft of user interview takeaways passed to the founder. (Team: Jennie Moser as founder/client, me as strategy consultant)

Good strategy requires good data. Desk research, or internal data, or intuition are not enough; ideally, a data toolkit also includes primary research. Visual tools can support data points and conclusions without reading like a college thesis. You’re not necessarily collaborating with a team to pull takeaways from customer interviews, but you can use a whiteboarding tool  to quickly analyze stream-of-consciousness style thoughts.

Say you're at an early stage company and you're tasked to conduct a few customer/user interviews for insights to inform strategy. But you're not a research professional and you don't have specialized tools to draw from. On the upside, you're likely not working with a ton of interviews — maybe you've managed to get one interview with each key persona. But it takes work to comb through transcripts! When you’re trying to manually quantify qualitative insights, scanning and highlighting in infinite-google-doc-scroll quickly becomes a slog. 

I find it more effective to parse out themes in Figjam, and then share them back with stakeholders, whether through Figjam or transferred to a slide deck.

It also doesn't need to be pretty. Above's an example for NewtonX, where I was pressed for time. I pasted transcripts into the Figjam (thanks to my a sick love of verbal anarchy), copied important quotes into stickies, grouped them into themes (e.g. brand perception, user feedback, user dreams), and then pulled bullet points from the themes. Those points fed into the slide deck I presented to internal stakeholders.

4. Creative brainstorming and landscape mapping

Caption: A snapshot from a campaign strategy project, mapping out the cultural landscape for a Fortune 500 retailer with Another, a creative agency in LA. (Team: Micah Heykoop as director and lead, me on strategy)

Sometimes it’s helpful to map out the cultural landscape to unlock insight into the whitespace your company can enter. You can also apply it to competitive analyses: what's going on in the market, how can we get an aggregated look at it, and where can we do something new?

No need to go for a hyper-comprehensive look—the goal is to capture just enough to jolt the brain into action and get the pinballs shooting around. Literally map out what competitors are saying so your company can unlock the key need that they’re not saying.

Above is an example of a brand jam with Editor Sarah Cooke when we were reenvisioning Currant, my food media collective featured by Mailchimp/Intuit, Harvard's Nieman Journalism Lab, and Creative Mornings.

The top half contains rapid fire brainstorming around core questions to draw out:

  • Why do we exist?
  • What’s our truth?
  • How do we tell our truth?
  • Who do we speak our truth to?
  • What does success look like?
  • What are the challenges ahead?

Bottom half is the GV sprint, which we realized wasn't the right framework, but at least gave us conversation starters.

Brainstorming is probably one of the most intuitive use cases for digital whiteboarding tools, but there's still value in it. It's helpful to shake out everything from senior leadership’s heads and have something to point back to for alignment when you get to strategy development.

5. Anything low stakes that you can test!

Above is an industry messaging brainstorm I tried for NewtonX with my product marketing teammate Jenny. (Another pro tip: find kindred spirits who champion visual tools!)

We were aiming to compile keywords and trends across our core industries and personas, to inform product marketing and thought leadership content. But we found that we needed something more efficient to hit deadlines, and docs were better suited to quickly edit the sheer volume of words involved.

It's great to try Figjam and have it not work! That means you're successfully testing the bounds for your needs.

Use visual thinking tools for strategy success

Visual collaboration tools introduce play and exploration into process, resulting in more confident pitches and higher performing strategy.

As a designer, I find more freedom in Figjam than a slide deck, but my intent here is not to prescribe tools. You could frame Google slides like a Miro canvas; the execution is more about the mindset of play. It's up to you to evaluate the exploration vs efficiency tradeoff per project. Once you nail the balance for you and your team, it yields a three-part impact to ROI:

  • Enrich your collaboration and ideation, resulting in higher impact projects
  • Make your own process more efficient, yielding time savings
  • Communicate more effectively to stakeholders, thus elevating your role

Though I think the greatest ROI is: whiteboarding tools help us get creative again. With a blank canvas, virtual stickies, and a malleable moodboard, we can return to why we got into the business in the first place.


Interested in more creative strategy insights? Subscribe to my newsletter hyperdisciplinary and The Content Technologist.

Thanks to Arikia Millikan and Deborah Carver for the edits.

June 22, 2022

What good narrative strategy looks like

Let's start with marketing. It's the most visible medium for narrative strategy — that amorphous, curious, invisible energy that causes companies to rise and fall.

Most marketing is bad. Or if not bad, mediocre and unoffensive. Because what happens in today's Capital America is a brand strikes gold with a campaign and then instead of one-upping them, competitors retrofit their own versions of the creative flavor of the moment that's found scalable success. (This is why Instagram and subway ads look the same now.)

Because narrative strategy — articulating it, executing it — is hard. Yet this is the thrilling, messy process that anchors my work, which today's market structure categorizes across the brand, content, marketing, and strategy disciplines.

Indie consultant Tom Critchlow calls this (which I've lightly edited for flow): "Advisory" work — that done well is about helping the client shape narratives about who they are, narratives about how their markets function and narratives around the strategies they’re creating.

Narrative strategy is rooted in human behavior. It's tracing and shaping the contours of ourselves in real time as we navigate this strange era of crashing capitalism and post modernism and futuristic gen z-ism. At its core, it tells stories that move people to act. At its best, it restores the business-customer-society relationship when other functions go awry (e.g. when the algorithms be optimizing, when injustice runs rampant). It's key to sustainability, whether you're in B2B or B2C or B2G or web2 or web3 or web6. It might live in marketing and communications but demands to be deeply embedded with design, research, and product.

Today I unpack — why does narrative strategy matter? And then outline 4 tenets to a successful approach:

  • It starts with ethnography
  • It designs for both existing and emerging behavior
  • It resists virality
  • It remembers the joy and fights the urgency

Interested in monthlyish dispatches on creative strategy? Subscribe here.

Narrative edge is the secret to competitive edge

In 2021, 5.4 million new business applications were filed according to the U.S. Census Bureau. That's 14,794 per day. (And I was one of them!)

I'm glad that the barriers to entrepreneurship are lowering. That also means that building the next big thing doesn't auto generate success. Disrupting an industry is the easy part; the hard part is sustaining the innovation.

Look at it from everyone's favorite business example: Apple didn't just launch the best product on the market. They didn't just enable a more fluid tech ecosystem. They showed you why you needed them spiritually — not just functionally.

Let's talk about my work with B2B research company NewtonX. We provide market research that enables our clients — like Microsoft, Pinterest, and Tableau — to make better decisions in high stakes business scenarios. We have a fantastic offering: the best data you've ever seen. Last year, 96% of clients started a second project with us after the first. But there are other options, other research providers for clients to go to, even if they don't measure up.

What this means for NewtonX's narrative strategy: it's not enough to market how we empower clients to retain their competitive edge. What's key is to help our clients and prospects see: we make you a hero. We restore trust in your data, in an industry context where 30-40% of data sourced from traditional providers and methods is trashed. We reinvigorate your organization's research practice, through partnering with you — the research buyer — to change the culture and expectations of insights in your company. We equip you with insights that don't just validate hypotheses or serve premeditated internal agendas, but rather, bring truth, no matter how hard to stomach. Yes, this is all thanks to our search technology and automation and AI, but that's just the background enabler.

Narrative strategy asks: how do we translate the complexity of our tech - to the simplicity of the impact?

It's the same in B2C world. One of my favorite success stories is Chinese tea brand HEYTEA. I live 7,364 miles from the nearest one yet I'll scroll through their immersive comics on WeChat. In a country where food delivery giant Meituan delivered over 210 million milk tea orders in 2018 — somehow, HEYTEA has made bubble tea an out-of-body $5 experience worth waiting hours for, through none other than stories.

Because technology doesn't move people; poetry does. The most effective narratives paint a portrait of who your customer or reader or viewer could be, covering their insecurities with grace, redeeming their failures with hope. I call this editorial marketing. It's storytelling the way journalism does it: not to overtly sell, but to pitch in ways so truthful and compelling that you can't help but want more. The NYT has over 10 million subs not because they sell subscriptions; they tell stories that sell subscriptions.

Whispers: Wanna make millions? Answer: Listen to the murmurs of the culture.

With that, the four tenets of effective narrative strategy below.

It starts with ethnography

Good narrative strategy gathers all data points available. It begins in deep research, a fascination with anthropology.

Friend and indie consultant Behzod Sirjani puts it well: it's about bringing rigor to your curiosity.

Coming back to the case of NewtonX: I'm not a senior decision maker tasked with sourcing B2B research, yet these are the buyers I speak to. So what does it take to know one? Conducting customer interviews, auditing and tracking metrics, doing competitive analyses and desk research, reading industry trade publications, attending conferences and crafting our CEO Sascha Eder's talk track, observing the audience reactions afterwards. And of course, just doing the work, repetitively, earnestly.

It also takes creativity. At NewtonX, I spent a few months working directly with our c-suite and soaking in their language. This sparked a new idea: surveying our own team on internal brand perception to understand how our strategic narrative trickled down to employees across functions and seniority — to uncover the opportunities in bridging and strengthening brand. What I call "voice of the employee" research, to complement "voice of the customer" takeaways.

In the B2C realm, there's even more. You get direct channels to your community through social media platforms and mass media publications. In the vast ocean of millennial content - the waves of culture are endless. There's literature! Film!

I contend that there's no such thing as a B2B audience; we're all B2C by virtue of being human. Some of us just happen to represent businesses. And all of us are moved by blood, love, sex, war. These are the impulses that drive our living and being. And so the best business writers read literature.

Brilliant friends Eugene Kan and Charis Poon do this well with their culture podcast Making It Up.
Above: A quick example of sensemaking the narrative landscape of athletic culture, in a brand strategy sprint I did with creative agency Another.

It designs for both existing and emerging behavior

I'm talking about SEO behavior here, zeroing in on content. Successful companies solve for what people are searching for — and introduce novel searches in the process. (15% of Google searches every day are new!)

So how do you make what you do sound new? While hinging on existing language as a directional signal for what people want?

At NewtonX, we're all about "custom recruiting," the research methodology that enables the high caliber of data we deliver. We infuse it everywhere. But we also frame our messaging with the familiar, making sure to contrast our approach with "expert panels," the method that B2B research is historically built on.

Because sustainable content strategy isn't just about cultivating trust with readers. It also requires building credibility with machines. It's a dance between charming humans with poetry and appeasing machines with code. Code in this case being the structured, formulaic language of SEO.

Nailing human-machine trust releases potential to do the fun stuff like "demand generation." This is marketing speak for "education," the space to play with what you're passionate about but isn't yet mainstream interest.

Content technologist Deborah Carver explores this well: Currently, in both publishing and content marketing, success is most often tied with easily gamed short-term metrics like leads/subscriptions generated, search ranking, or pageviews (yuck).

In an ideal execution, [content] pillars connect the actual content — ideas, world-views, leading thoughts, humor, personality — to brand performance over time.

Let's take it from the experimental end — say, with my food media collective Currant. Our biggest passive traffic generators come from our pieces on respected food figures Jonathan Nunn and Lucas Sin, who routinely garner press. Definitely not with our newest feature series on climate change through the lens of jam producers? Nobody's searching 'how does climate change affect my jam and what can we do about it???'

But because we publish pieces that are new, different, probing — Harvard's Nieman Journalism Lab added us to their public reading list. CreativeMornings promo'd us in their newsletter. (Thanks, Emerline!) Mailchimp featured my story on "creating content users want to consume." But because we skew on the emerging side, growth is slow and steady. (Here, it's about the community, but that's another piece.)

Another example, somewhere in the middle: Metalabel. They're dubbing terminology for things like Currant: "release clubs where groups of people who share the same interests collaboratively make, support, and release projects." They're betting on the current desire and future potential of creativity in multiplayer mode, and wondering how emerging technology might support it.

It resists virality

If you've worked in marketing, you've likely been asked how to go viral (or, meh, tasked with it).

No one gets to the big leagues because they're trying to go viral; they win because they're waking up earlier and sleeping later than everyone else to practice.

Sounds simple. But when I managed brand marketing at consumer product company W&P, our top Instagram posts came after endless rounds of iteration. It took months of daily workshopping with our creative team to hit our production stride. Fumbling and missing deadlines. Leading 10+ brand giveaways, cultivating relationships with 200+ influencers, and getting to know our community well enough until I intuited their hopes and needs. Their Instagram following has grown 235% (43k to 144k) since my time there, wherein our team put in the effort to build the foundation for economies of scale.

Because at the beginning, you don't have space to obsess over creating cool content. We were focused on aligning business priorities, creative capabilities, and editorial timing to produce magic.

Listen, if influencing was easy then we'd all be influencers by now. Trust the process.

(First iteration of this section was written for Julia Lipton's Awesome People newsletter.)

It remembers the joy and fights the urgency

That feels like a good transition to say: social media platforms are not the primary avenue to narrative success. As a recovering accidental marketer who's worked intimately with social media — it's hard to feel the love for what you do when there are so many warped incentives built into it. (Don't ask me how I feel about FB ads manager.) The platforms are like a strange relationship you have with someone who concurrently attracts and repulses you.

There are good humans working in tech, but they lack the vantage point of having to wrestle with the algorithm to pay rent, because they have the luxury of developing and designing it.

When you're brand-side, it's easier to see how sinister social media can be, more than the majority of humanity who use it on a personal level. You're professionally trained to manipulate human behavior, designing for desire and pulling the levers of words that convert.

Back to what I said up top: At its best, narrative strategy restores the business-customer-society relationship when other functions go awry. Done well, it redirects social behavior through thoughtful words and imagery, shared over deliberate timelines. It undos toxic feedback mechanisms pre-designed into platforms. There's no need to post 3x a week because it's 'industry standard.' That's why the industry has garbage engagement and open rates.

Applied to email as well: sender reputation works best when you're not inundating people. Even if they love your shit, they're not going to consume it as often as you hope. (Leave that to the actual media! e.g. the NYT Daily)

Of course, resisting our reactionary era requires taking unconventional stances. It takes a stomach for uncertainty. I like how strategy consultant Vaughn Tan framed it in a recent conversation we had: "Uncertainty is not the same as risk."

It sounds risky — to not play the game that everyone else is occupied with. But when you eschew biased rules, you enter new modes of operating. You and your organization enable redemptive strategy. And how much more fun would that be? What realms of possibility might we unlock as result?

"A show has a soul, which is very much made up by the people who create the thing. That's what makes it stand the test of time."
—Quinta Bronson on creating Abbott Elementary 

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November 30, 2021

Field Notes: 2021

I almost didn't write this recap. Year two of independent consulting during year two of a global pandemic didn't feel worth publicizing. (Are there not far more impressive and devastating things that demand our attention?) But as I noted in my consulting manifesto and continue to remind myself, small is beautiful again, and so here we are again, another year to archive under blistering suns and soft moons.

Intros first, for those who are new here: I'm Vicky, an editor, writer, and designer who thinks strategically and systematically. Applied to current market context, I'm a brand and content strategist. And in today's wild world, I'm an independent agent via Studio QQ, who found herself ambushed by the vagaries of indefinite contract work during a global medical-economic-ecologic-socio-cultural crisis.

Working by short term contracts is like seeing capitalism in its underpants. Once intimidating, the structure—in pandemic duress—reveals its vulnerabilities, whispering yes, market value is arbitrary, yes we expect you to keep wrangling the algorithms and human desire at the expense of mental health, sorry not sorry, but still count yourself lucky?

In any case, whether you're a fellow flex worker, considering the jump from a traditional full-time job, or just curious about the independent work lifestyle—I hope this reflection sheds illuminating light on otherwise opaque industry underbellies. I hope this paves the way for the fearless ones to come. For those who come not armed with corporate networks or generational wealth or racial privilege, but compassion, grit, and of course, general badassery.

[FYI this is longish, as I wanted to be detailed and transparent. Read it when you have the time, and share share share with anyone who could benefit.]

Table of Contents

  1. What I do
  2. Work highlights
  3. Process highlights
  4. Writing progress
  5. Tough times
  6. Plot twist!
  7. How to support my independent work

It took me two years to transition from my last role in:

marketing for millennial-oriented consumer products—think daily digital campaign management, tight-paced creative production, influencer and brand partnerships, the stuff you see on subway and Instagram ads—

towards brand and content strategy for software and service-based companies—think pulling complex, messy topics and themes, synthesizing and writing insights, editing down to the core concepts and stories, and structuring a plan for ambitious yet realistic execution.

The lesson? Functional and industry pivots are hard. I'd say two years is on the quicker end of the timeline, accelerated by a hot labor market for digital skillsets and loads of extra work I spent building my media collective Currant (doubling as a portfolio piece, which came up in pretty much every conversation I had). Decisions to pass or take on projects were made with much more deliberation than in my first year. As a whole, my project range reflected more generalist than specialist scopes, as I wanted each engagement to be a slow turn towards new directions.

Some things I'm proud of:

  • Honing communication practices across time zones and cultures with my first international client, for a project bringing an Asian product to the global market through an education-driven marketing strategy.
  • Formulating brand strategy and positioning for a sexy Fortune 500 retail company for a 2022 product line release. That's it, that's the tweet. [Example of strategy framing below.]
  • Solidifying my conviction into applied expertise in the social impact space, through developing brand, content, and social strategy for GOOD WORX, a social impact and DEI consultancy. (And, referring someone for the next stage of execution! Feels good to entrust stewardship.) [Brainstorming and auditing exercise below.]
  • Experimenting with organizational design for Currant. Dreaming and scheming with our four-person distributed team. Meeting lovely people from across the world in our Discord. Talking partnerships. Hosting our first in-person brainstorming offsite. Documenting company culture and working processes. I'd like to make our internal Notion an open source resource when it's ready—as a primer, here's a mini handbook for working with me. [Below: a taste of Currant at work.]

Process! Oft hidden yet deeply fulfilling. Things I enjoyed:

  • Developing relationships with studios I admire and respect: data viz studio Polygraph, brand creative team Another, design studio XXIX, culture change agency Invisible Hand. (Always grateful for the one who got me started: Elizabeth Tilton and the Oyster Sunday team.)
  • Scoped out my first FAANG (er, MAANG?) projects, around supporting ad marketing and creator initiatives. Good data points to note on the subworlds of subcontracting—and where I found my past marketing experience came into helpful play.
  • Wrote my working manifesto and realized my ~proprietary edge~ that I bring: I infuse art back into technology. Sure, I can whip up performance reports and SEO and social copy, but since I'm a literary nerd, I do it with style and flow. (Brainstorming on an essay on the creativity of business writing.)
  • Refined my workflow with Figma and Figjam, which I use for brainstorming, research, auditing, and drafting. This has been gold, as I'm equal parts verbal and visual thinker. Clients also enjoy working with it and getting to participate in my process, whether they're new to or familiar with the platform. [Quick research example below.]
  • Translating work between industries. I largely worked across the hospitality, media, and social impact sectors, so writing startup-oriented content strategy tips for Julia Lipton's Awesome People newsletter (thanks B!) pushed me to think and scope with another type of audience: early stage founders and VCs.
  • Cultivating my creative community. As someone with few real life friends who overlap with my professional disciplines, I spend lots of time on Discord and virtual coffees, and a bit on social media and Slack. Each conversation an infusion of energy. [Below: my profile for Tiny Factories, a tribe of creators supporting each other.]

This isn't directly tied to my independent consulting work, but it fuels it. (We could call this the meta-work?) I can't help but write, all the time. My reminders app holds an embarrassing backlog of half-baked thoughts before transferring them to my perfectly chaotic Obsidian. I love squeezing into the gritty, squishy corners of culture, pushing and pulling our biases, thinking critically and compassionately about why we work. Some things I published:

  • Self-published a culture crit piece on hautecore on my blog, which got me in touch with the Real Life Mag team (thanks K!). Noodling on a pitch around the history of community design for them, after a good convo with a friend around web3 ethics (thanks C!).
  • Photographed Seattle-based jam-producer Ayako & Family, for Currant's upcoming feature series around climate change through the lens of jam. [Sneak peek below.]
  • Gained personal press hits: the kind Daisy Zeijlon interviewed me in a roundup of food media innovators for Lunch Rush. The lovely Kristen Siharath from Mailchimp interviewed me about demand generation, then the team transitioned, then they got acquired and things got nuttier, so TBD on pub date.
  • Rest of World Editor Louise Matsakis retweeted my thread about Meaghan Tobin's article "Why China’s crypto cowboys are fleeing to Texas."
  • Planning a fun (!) editorial series for my newsletter and website, featuring smart, so smart friends with collectively eclectic areas of domain expertise. [Noodling in process below.]

It ain't always sunny times…

  • It's still COVID. Caring for self and loved ones demands lots of physical, mental, emotional, and spiritual labor. Relearning all the time that it's okay to stay still when I don't have the margins for much else.
  • Staying focused on the long goal through the slogs, which meant declining work to make way for the work I wanted to grow in. The summer months were a relentless cycle of personal biz dev: exploratory calls, scoping out new projects, building my portfolio, developing my methodology and positioning, and applying to jobs. At the peak, I engaged around 20-30 people and companies per month.
  • This is another convo, but healthcare. Switching from Oscar to the public health marketplace was one of the best decisions I made. Of course the digital and physical UX suck, but in return, I gained better coverage and a deeper understanding of how public welfare actually works. No empathy like lived experience.
  • Realizing the limitations of going it solo, vis-à-vis growth potential when embedded in a long term team, where I'd have steady mentorship and functional support, fuller enablement to scale and specialize.

Which brings me to an unexpected curve in the path: I'm sunsetting Studio QQ to join NewtonX, the world's leading B2B market research company, as our Content Strategist.

I'm excited, especially because this decision didn't come easily. Took a bit of time for my head to catch up to my gut and articulate the driving reason for the change: I'm not just here to build content strategy; we're here to build an organization. We're redefining scale and doing it methodically. With lots of growth on the horizon, joining now means making impact on the foundational level—empowering the people around me—while having the resources to dream on higher levels. (Also, we're hiring! Across marketing, product, people, sales, and engineering.)

After these two years, it's hard for me to get excited about the current dialogue around the creator economy. I'm not a full-time creator, but there are parallels to me accidentally going indie while early career, without corporate networks of scale. Still, I'm grateful for the anchor in working with businesses rather than relying on the end consumer. I suppose that's why we need people with careful, deliberate optimism to work on this, from the unions to the community organizers to the venture capitalists. Because they see a future I'm too tired to envision.

But alas! So many! Things! To make! If you want to join me on the fun and unpredictable journey, consider supporting me at $5/mon or $50/yr. (You can also sign up for free! Makes my day either way.) The main perk: you'll enable me to keep creating things that touch others, in small and big ways. The tangible perks: you'll receive intimate musings on work and life and peeks at creative projects in the works, with original photo, design, and illustration woven through. In a nutshell: expect a party in your inbox, a couple times a month. It feels ironic to ask for your support given what I just talked about, but maybe this is me believing in the future I can't see.


Thanks to my family, for everything. A special thanks to my coach Julia Regan—for listening, calling me out, and nudging me on.

Indulge me for my redundancy, but there are truly too many people to thank. You know who you are. Much love to my existing subscribers. I suppose that's the theme of these everlasting and neverending years. Gratitude.

If you're curious, my year one recap of independent consulting here: Field Notes: 2020.

October 12, 2021

old dreams making way for new

Sharing a little illustrated photo poem: the fruit of a transitional season between work and homes, inspired by Weiwei Hsu's comic log So.. Where's Home?.

Subscribe to my newsletter for the full experience, featuring hopes and critiques on the vagaries of life and independent work.

"The photos that resulted are notably different from what we might ordinarily think of as photojournalism: they are dynamic but are not the action-packed singles of the kind that win photojournalism prizes. There is something far more patient at work in them. We feel that the photographer has not so much captured a “decisive moment” as gained us admission into private moments of long duration. Many of the images project the longueurs that are, after all, a substantial part of regular life: unhurried, unharried, the part of life that isn’t caught up in working for pay, the part of life that is a straight catalogue of the passing minutes." —Teju Cole, Known and Strange Things

Credits

*Eugene H. Peterson
**Friedrich Nietzsche
***J. R. R. Tolkien

September 15, 2021

My Working Manifesto

My first college gig landed me in our student center lobby, fitted in an unflattering cerulean blue tee with "Techspert" printed over the front. I was a Microsoft brand ambassador, tasked with evangelizing the wonders of the newly launched Windows 8 and Surface Pro. I'd iterate on invitations to unsuspecting passerbys: Come, step onto the mat, and experience this new paradigm of an operating system.

Hot spoiler alert: Windows 8 didn't take off. Its legacy exemplifies the truth of time: product flops become product blips; companies persist, offerings shift. The marketing evolves in turn, finding new balance between the edges of imagination and demands of scale.

Yet in capital-flush product ecosystems, scale prevails, sanding down the rough edges of curious and creative language. We instead slide down smooth slopes of unquestioning enablement. Want to look this attractive? Click to purchase. Desire this person? Swipe to choose. Think cookies taste good? Check to accept. Best practices in communication design become unintended aggression towards our wallets and wants.

Design may come in an elegant package, but it doesn’t always make things right.

I'd almost forgotten about that Microsoft job. It now strikes me as the accidental primer for my experience to come: managing marketing for millennial-favored consumer product companies, ranging from bootstrapped to venture capital funded to acquired.


I grew up in the suburbs of Dallas, walking a rigorously and lovingly paved path to business school in DC and finance in Beijing. My path then took sharp turns into culinary research in Copenhagen and photojournalism in Chennai. It veered into UX design in San Francisco and digital strategy at the U.S. Health & Human Services. My winding pilgrimage ultimately led me to New York City in 2017, as yet another unemployed and uninsured fresh transplant.

Making it to mecca hardly felt glorious. I found no romance in navigating public welfare systems, only conviction in the work awaiting. It revealed the throughline across industries: Even for the tech-literate, building the platforms and products for public good is still…laborious. Multiplying ecological, political, and sociocultural earthquakes complicate the [feasible—desirable—viable] innovation trifecta. The big fishes are often the ones who survive the shock waves, due to sheer resources.

Yet it is the year 2021, the second year of COVID-19, and small is again beautiful. Community organizing finds fresh momentum across our Discords and DAOs and Buy Nothing groups. Companies continually recalibrate their products to serve the independent before the corporate. For example, in music—artists can choose to participate in alternative economies like SoundCloud and Bandcamp and Ampled, if not Spotify and Patreon. In journalism—writers can join emerging collectives like Defector and The Brick House Cooperative, invest in independent platforms like Substack and Ghost, or crypto networks like Mirror, if not established media publications.

Without discounting its devastation, the pandemic reoriented strategies around human trust and care, counter to uncritical consumption. It resurfaced lingering spiritual discontents inherited from our predecessors—the roots of immediate user and audience needs.

Because if you don't look at the [stock] tickers, you're really just searching for the truth within all the numbers and all the chaos. And that's the key to being a recording artist. You're telling your story or finding your truth at the moment.

This is the ethos that anchors my consulting practice with Studio QQ. I partner with you to articulate purpose and communicate it in ways that spark collective progress. We employ new language to trace the raw edges of the challenge at hand. We speak poetry to technology, refine zeal with grace. We get wild, because the margins are places of play and delight.

Depending on industry, my work is usually framed as:
— Brand and marketing strategy
— Content, community, and organizational design
— Editorial storytelling and audience development

Partnering together means envisioning a new market context. It entails stomaching risk for new measures of reward that expand beyond user count, audience reach, or customer lifetime value. It thrives off readiness to experiment within thoughtful bounds.


I used the Surface Pro for a couple years, until it shattered after falling off a poorly designed desk. I then converted to The Way of MacBook.

That's the beauty of pushing into new edges of creation. Things can unexpectedly break and fade into irrelevance. They can become commercially successful and culturally celebrated and ecologically redemptive. Either way, they can outline new contours of change and reframe the public language around it.

Just like emerging ideas and organizations, I expect my working ethos to also evolve. For now, it's a moment of clarity in the mess of rebuilding through corona-era. A reminder and hope that throughout the pursuit of progress, we never lose our edge.


If you'd like to explore working together, get in touch with me at vicky [at] studioqq.co. I'd love to hear from you.

January 19, 2021

Field Notes: 2020

On my first year of independent work

This year was about staying afloat.

We all lost many things in 2020, some more than others, and I'm lucky enough to feel grateful in the midst of it all that I don't know what to think of it. Equal parts recap, reflection, and release, this post details my first year of freelancing during the first year of a global pandemic. For anyone considering the leap into independent consulting (contracting, freelancing, etc)—I hope it helps. Inspired by Tom Critchlow's indie-versary recaps.

I left my last 10-7 desk job on Wednesday, November 6, 2019, intending to freelance a bit as I recruited for the next job. Shortly after, Covid-19 tsunami'd our lives, breaking through our safe harbors. Each wave a new lesson: never mind the work, quick, preserve the life first!

My full-time conversations came to an indefinite hold, I plunged into the project-to-project flow, and incredulously, my haphazard collection of flotation devices buoyed me through the waves.

The sinking forces were also many: I'm the first in my family to be born in the states, with no corporate network from working at a brand name company, no reputation from staying in the same industry, no benefit of the doubt from looking or acting in ways society glorifies, and no cachet from an aspirational social media presence.

Yet I have giving and empowering mentors, talented and kind peers, sacrificial family and entrepreneurial blood, and divine grace. Plus the privilege of English and digital fluency to navigate government benefit systems. My parents left everything halfway through their life so I ostensibly wouldn't have to, but what can they say? Like father, like daughter.

The world needs more indie and more weird, pushing its boundaries and constructs. Here's the beginning of my tribute to that.

Table of Contents

  1. The Operating Work
  2. The Speculative Work
  3. The Stewardship Work
  4. The Life Work
  5. Onwards to 2021

The Operating Work

As natural, my projects reflected the (net)work of my last full time job in brand and product marketing. Breaking down my projects (by revenue) and how I'm planning for them to evolve:

Notes:

  • Most of my work in 2020 spanned the gamut of digital marketing: content and campaign strategy, copywriting, design, project management, asset organizing, and customer service. For small to mid-size clients across consumer product, food & hospitality, and media.
  • I've done a lot of social media work over the past few years, and I'm ready to dial it down. Open to the strategy of it but the execution can be relentless: rewarding when reactive, attached to optics and signaling, and co-dependent on dubious, slithering algorithms.
  • I've noodled on web design and curation since ye olde days of Blogger and Tumblr, and this year I started creating websites for people and ideas larger than myself. Of the six sites, I built five on Semplice, a design-driven platform based on WordPress that needs little coding ability. A website example here. Aiming to keep pushing in immersive narrative design.
  • Key moment when I scored my first project through cold application—as opposed to existing connection—for a lovely team at a literary magazine.
  • I pitched my first published personal essay (w/photos) for food publication The Counter. Big thanks to my editors Mike and Jesse!
  • I occasionally picked up 1-2 week sprints, in copywriting and UX design.

In 2021, I'd like for my roles to evolve from bolt-on digital marketer towards something like a strategic partner in brand content and media systems. Visualizing how I see those elements in relationship below, as a sort of spidery-flowery web molecule:

Content: What are the important stories to tell? The nucleus.
Media: How might we communicate them? The tendrils.
Systems: How does it all work together? The whole.

How I envision future engagements might look:

  • Building editorial platforms for organizations to establish themselves as thoughtful media and content leaders. Orgs spanning design & innovation consultancies, food & hospitality, social equity-driven nonprofits, and new consumer product ventures.
  • Upgrading digital marketing systems for editorial publications, potentially including audience development and engagement
  • Helping independent journalists build niche news products for wild times

Today more than ever, we need individuals rather than corporations to guide the web’s future. The web is called the web because its vitality depends on just that—an interconnected web of individual nodes breathing life into a vast network. This web needs to actually work for people instead of being powered by a small handful of big corporations—like Facebook/Instagram, Twitter, and Google.

More succinctly put, I'd like to:

Help organizations deepen their voice as media brands, and media publications strengthen their digital presence. While holistically serving their human communities.

Reach me at vicky [at] studioqq.co if you'd like to talk about working together!

The Speculative Work

I wrote 67 newsletters (1.3 per week!) this year, to two groups of good people. I'm shocked, because that entailed a massive amount of reading, note taking, synthesizing, writing, and editing. It's a far cry from my past life sending emails to 120,000 people for the chance to win $1,200 worth of normcore travel gear. I now write to 1,000 people who are interested in questioning that very relationship: how might society, capital, and government live symbiotically?

Currant

Currant is my food media baby. It's a hybrid model of many things: global publication/community, public/gated space, and passive/interactive fun. It's thrilling but creating an amorphous publication in all strategic and operational senses is ten thousand fridge loads of time and work. Raising ten thousand glasses to my inimitable partner Sarah Cooke and our contributing team members. Building our team up = one of the most richly rewarding experiences of my year. ♥️

Highlights: I waited 2.5 hours in NYC's freezing winter AM for a rapid test before interviewing writer Mayukh Sen, which got picked up by Harvard's Nieman Lab. I canceled our first physical press party, and now we've opened our Discord. And much more, which you can read in my editor's letter in our 2020 Currant Annual Report below.

If we're lucky, we're still kicking. And if we're still kicking, we're still creatures that need to eat, through our zealous days of youth and retired days of senility and the muddle that is everything in between. That's why Currant exists: to clear the way through the mud. To uncover and connect food truths, carefully devein systems of their sh*t like our parents do with shrimp, and treat each other with dignity in the process.

Writing

In 2016, I started writing a Tinyletter to keep up with people I cared about. It's since matured into Curious Futures, a lovely regenerative space on Substack where I noodle on media, tech, and culture. (Literally—I use Adobe Creative Cloud to make hand drawn illustrations and designs for paid subscribers.) My readers support me, I support those whom I read, and we meet new people in the process. A blessed low stakes socializing.

My writing is hard to categorize or market, which I'm fine with. All I want is a digital cubby where I don't have to worry about growth or audience acquisition or SEO optimization and just let the words somersault out, stored in a safe squishy place.

Who is this for?

  • You like creative nonfiction but not enough to subscribe to The New Yorker

  • You’re disillusioned with your job or social status yet resentful of how ungrateful you are

  • You love the big coastal cities but for good reasons don’t live in one and would gladly pay rent vicariously (through me) while receiving updates on urban culture

  • You relate to high nerd energy, deadpan irony, and/or devastating truths

  • You wonder, there must be more than this

OpenIDEO

Following two months of multi-continental interviews, I joined the OpenIDEO New York Chapter Organizer team last April, along with my wonderful team members Kaleb, Gayatri, and Jess. Last summer, we devised an educational design sprint via Discord and Twitter, based on the Rockefeller Foundation sponsored Food System Vision Prize.

It's not easy to distill "innovative solutions to pressing social and environmental issues" into forward movement, whether resource-rich or not. Highlight: learning from chapter organizers across the globe, from London to Lagos to Beirut to Mexico City.

The Stewardship Work

Behind and before every project, every break, and every crisis comes the realities of ongoing business development. Not always in balance, but at least attempted. 🙂

  • Continuous emails and calls with experienced people I admire, recruiters, friends starting new ventures, and those considering the freelance leap
  • Contributing to seven distributed teams and digital communities
  • Rebranding Studio QQ and IG @studioqq.co
  • Pruning my digital garden. Even if I feel an urge to scrap all my digital/social platforms twice a year, I like how each contains distributed pieces of me, withholding full expression because they were never meant to carry that kind of weight on their own.
  • Religiously updating my career and revenue planning sheets - color coding spreadsheets is a sick love of mine?
  • Reading, listening, watching, & attending interesting things! Especially people and projects that unapologetically retain their wildness.
I don’t want to see the uniqueness and wildness of Chinese literature tamed and consequently lost in the English translation.

The Life Work

I have never relied so much on public institutions for my personal welfare, and I am a better citizen and journalist for it. I waded through New York's Health Plan Marketplace, applied for freelancer benefits c/o the CARES Act, incorporated my LLC, started my business bank account, sorted out taxes (I hope), and designed my own invoicing and project management systems. This all takes an obscene amount of time and maintenance, with continued updates as I learn from more established indies.

Onwards to 2021

I'd like to talk about 2020 without sounding trite or earnest or jaded or weary and I'm not sure I'm there yet, but at the least—my work this past year was highly stressful yet exhilarating, affirming yet frustrating.

I've also talked a lot about work, without mentioning rest. I know I'm going to burn out soon if I don't enforce a break for myself. Hopefully that'll happen sooner rather than later, but given that I have no dependents and no underlying health conditions—I can comparatively afford to be generous with my time, applying my margins of energy to support others whose reserves have gone negative.

Here's to another year, a little more positive.


If you'd like to talk about working together, you can reach me at vicky [at] studioqq.co. If you'd just like to talk, ping me at vickygu30 [at] gmail.com.


Special thanks:

For your advice and time: Paul Jun, Dan Oshinsky, Jodi Bryce, Julia Regan, Michala Sabnani, Deanna Ting, Hannah Chloe Lee, Rachel Meade Smith, Travers Johnson, Michelle Lin Park, Cherie Hu, Matt Daniels (for the best rejection email I've ever gotten)

For your mentorship: Elizabeth Tilton, Tessa Maffucci

For your encouragement and inspiration: Sarah Cooke, Eugene Kan, Charis Poon, Mayukh Sen, Tae McKenzie, Tom Critchlow, Will Pay, Alex Larson, Nora Keller, Anna Wilhelm, Dami Aboaba, CJ Quartlbaum, JP Preisser, Emerline Ji, Mark Stenberg, Patrick Moore

For your partnership: Sam Rose, Sally Luu, Leah Herman, Tavia Kowalchuk, Mike Lindgren, Jasmine Chou, Mary B Safrit, Luke Schmuecker, Caroline Cotto, Kate Anthony

For your support: Hayden Jeong, Rona Shen, Sam Hillman, Chaoyu Huang, Hannah Keem, Carolyn Hill, Ashley Hong, Melanie Henderson, Bailey Smith-Dewey, Anna Rickrode, and my family