Posts tagged JOURNALISM
Zing Tsjeng Broadly Women Who

Given that Zing Tsjeng grew up reading Jezebel and Vice magazine, it seems only fitting that years later she was chosen by ex-Jezebel veteran Tracie Egan Morrissey to be the UK editor of Vice’s female-focused channel Broadly. It probably helped that Zing's pre-Broadly CV reads like a who's who of the coolest media titles around - she earned her stripes as a journalist and editor at the likes of Wonderland and Dazed, before being snapped up by Broadly when it launched a year ago. As you'd expect from someone at the helm of one of the slickest feminist platforms around, Zing also gives off the air of a woman who - to be blunt - has her shit together. Maybe that's because she’s so relentlessly vocal about the most pressing issues affecting young women today - or maybe it’s just because of her signature leather choker. Read on to get her advice on negotiating your salary, and to find out which Nicki Minaj quote helps her get into a bossy frame of mind.



I didn’t even consider journalism as a career, even though I dicked around plenty on my student newspaper at university. I wrote on a very weird, expansive range of stuff — one week I would interview Tracey Emin’s ex Billy Childish and the next week I would hang out in artist squats. I won the Guardian Student Media award for Best Features Writer in my second year and that was when I thought, “Hmm, maybe I could give this a shot.” I ended up doing my MA in magazine journalism and was like, “Well I’ve spent money on this degree so I guess I actually need to be a journalist now.”

I’ve always worked on the digital side of things, even when I was working for magazines like Wonderland and Dazed. I like how fast it is — you’re able to react very quickly to current events. I’m impatient by nature, and I’m not used to print deadlines that are months away! Also, when you write and commission stories, you want as many eyeballs as possible to see it. With overall print circulation declining, that doesn’t happen if a story only exists in print.



People drop great stories in my lap all the time – important, funny, intelligent, perspective-altering stuff. And I get the chance to read that before anyone else, so how lucky am I?



Balancing all the different aspects of being an editor – whether that’s working on video or text, commissioning photos, speaking to sources, working on longer investigations, editorial strategy etc. Leaping to and from all those different duties is a fine balancing act.



I’ve had to learn how to switch off and not look at my phone, especially when I’m out with friends. Unless I’m working on something urgent, or waiting to hear back from someone – no one’s going to die if I turn off Slack notifications on my iPhone. Also, just going out and being physical and in your body. I live so much in my head (and in words and emails) that I sometimes forget that I need to take care of my body. Just go out dancing to dumb, mindless music one night, or work out, or take a long bath or walk where you’re not looking at your phone or listening to a podcast or music. Just literally be in your body with zero distractions. It’s hard!



One thing I’ve found really useful is sticking to the 20% rule (or at least that’s what I call it). The next time you negotiate a salary or payment, ask for 20% more than you think you deserve – because you’ve almost definitely been undervalued, whether (unconsciously) by yourself, or by the people paying you.  So just go for that extra 20%. You will feel like the world is going to explode because you’re daring to ask for more, but it won’t. Maybe your employers go for it, maybe they won’t – but you’ll definitely feel better for having tried. And once you’ve tried it once, that makes it easier to do it again.

"Ask for 20% more than you think you deserve."


There’s an interview with Nicki Minaj where she talks about being ‘bossed up’ and standing up for herself, saying: “If I had accepted the pickle juice, I would be drinking pickle juice right now.” An old colleague and I turned that into our mantra. Every time we went into a meeting and we knew people were going to try and walk all over us, we would whisper, “don’t drink the pickle juice” to each other. Personally, I found it very helpful.  



I’m working on a few documentaries to be filmed in the UK and Europe, which is exciting. Broadly has become known for great, in-depth documentaries on everything from revenge porn to maternity leave, so I’m really excited to bring that focus closer to home.

I’m also semi-seriously working on a book about my family in Hong Kong, who basically lived through almost every major historical event in the Asia Pacific that you can think of. My great-granddad was a socialist revolutionary for Sun Yat-Sen, my grandparents lived through the Japanese occupation in WW2, then through more decades of British colonial rule, which was insane in its own way. My family tree has opium addicts, alcoholics, gamblers – at one point, my aunt’s nickname was the Mahjong Queen of Kowloon.  It’s Joy Luck Club meets Indian Summers on steroids. My life is intensely boring in comparison.



I’ve always had a lot more female friends, but even more so now. As I’ve gotten older, I’ve realised that women are able to support women in a way that is uniquely affirming and helpful – especially career wise.


Liv Siddall Rough Trade Riposte Women Who

Launching a magazine for a music institution like Rough Trade isn’t a task for the faint-hearted - the record store-turned-label has a loyal global following, and is revered by industry insiders and music-obsessed teenagers alike. Brought on board earlier this year to distil the essence of the iconic 40 year old brand into a 64-page magazine, Liv Siddall has produced a charmingly eclectic monthly volume that’s true to Rough Trade’s slightly anarchic roots – with the most recent issue selling out entirely. No doubt her experience as Contributing Editor at Riposte, the ‘smart magazine for women’ (and a Women Who favourite), which she’s worked on since its inception, came in handy. Formerly Online and then Features Editor at It’s Nice That, Liv also occasionally writes for magazines including Another and Dazed. Read on to find out about life as a freelance writer, what it’s like to launch a magazine, and how she basically manifested her dream job.



I got into writing totally by chance. My teacher at university very kindly awarded me a one-week placement at It’s Nice That when I was in my second year. I didn’t even know what It’s Nice That was back then, but when I walked into their teeny office on Rivington Street I realised that it was my dream come true.

The task in hand when I began working there was just: bring stuff to the table that you like, and then tell other people about why that thing is great. Blogging, essentially. I’m a real enthusiast for all kinds of crap, and at the time I was obsessed with album sleeves, comics, illustration, graphic novels, music videos – so the chance to tell people exactly why they should be into that stuff too was easy and genuinely fun. At that stage I couldn't “write,” necessarily, but anyone can gush about stuff that they’re really, truly passionate about. It just happened that there were people willing to employ me to do so at that moment in time. At the end of my third year, when my whole world was crashing around my ears and all my pals were going off to get design internships (I studied Graphic Design, and was terrible at it), It’s Nice That emailed me and asked me to come in for a ten-week internship. I stayed for four years and ended up working across the magazine, podcast, online, and events. It was like a dreamy finishing school, I loved every minute of it.

I never went out into the world and said, “I want to be a writer!” And I still don’t think I’m a writer. I still only write about stuff I’m super into, and I fully, fully believe that anyone else who tried their hand at that could do it too. Anyone can check your grammar and make sure your sentences aren’t too long, but if what you’re writing about is coming from a pure place, then you can’t go wrong. There’s a reason why I was never any good at writing paid-for content or advertorials. As soon as the passion was gone, my writing reverted to being like that of a lazy GCSE student.

"If what you’re writing about is coming from a pure place, then you can’t go wrong."


It’s different for everyone, but personally I find it very pleasurable being part of a team, working with colleagues together on something. When I was at It’s Nice That, I was fuelled by a desire for the company to do well because I believed in it, therefore I couldn’t slack off. With Riposte I worked on it from the very beginning and am very close to the Editor-in-Chief and Art Director, so again, I was driven to work hard to make it good. When I was freelancing, dotting about places and having a week here and there, I didn’t have any kind of loyalty to the companies I worked for so found it hard to really care, and in turn my writing and work ethic floundered a little.

I sometimes like to imagine that being at Rough Trade is like being on a big, wonky, barnacle-covered old ship. Everyone is working overtime to make sure it stays afloat, no one really knows where it’s going, but if you slack off then everyone’s in jeopardy. If you’re the kind of person who can just turn up, get the job done and leave, then freelancing could be great for you. For me, turning up somewhere every day where you know everyone super well and you have in-jokes and close relationships with people you work with is invaluable. I need to be depended on, and I need to believe in what I am doing. Freelancing didn’t work for me because I found it so easy to let myself down, and, fundamentally, I had no one to muck about and make in-jokes with.



Editorial work is certainly not driven by a lust for money. I guess the best bit, and the bit that gives me the most pleasure, is meeting people and talking to them all the time. The feeling you get when you walk out of interviewing someone is when I am at my happiest. Unless of course the interview was shambolic, in which case it’s the worst.



I was in my flat with my ex-boyfriend and I was like: “My life is shit. I want to work in a team again, I’m lonely, I want to move to New York and I want to make my own music magazine.” The next day I got an email from the director of Rough Trade, saying he’d found me on LinkedIn and wanted to talk to me about potentially making a music magazine, going to New York a bit, and working in a fun team. What are the odds? I must have done something very good in my past life to have deserved that stroke of luck. I went in for a meeting that day and had the job the next day. So, the answer to how I got the Rough Trade job is: luck, and LinkedIn.



For me the most important thing was making something the Rough Trade staff could enjoy and be part of. Making friends here took months, because I was just this random woman who had been brought in to make a magazine about a shop that some of them had worked in for 20 years. Now a few issues in they kind of get what it is, and a lot of them contribute regularly which makes me so, so happy. The staff at Rough Trade are some of the most knowledgeable, passionate people – it would be insane for me NOT to want them to be in the magazine.

One big challenge is getting feedback. Sometimes I see a customer reading it and I have to control myself so I don’t rush over and ask what they think of page 12, and whether or not they like the pink background on the cover. I’d say getting honest feedback out of people, which you desperately need to help you progress, is very difficult.

In terms of the content, that’s always easy because there are always a billion stories and things to put in there. Each month I promise Bruce (the design director) that the next issue will be way less full, but each month I let him down as I always have way too much stuff to cram in there. Sometimes the lack of budget is tricky, but I’ve taken to just photographing stuff for it myself to save money.



I really like giving lectures and workshops to students. Recently I helped some students in Nottingham on a six-month project to make their own magazines. When I saw all the magazines they made – some of which are so good – I was pretty overwhelmed. I really like it when I talk to students about what they’re going to do when they leave university, and I can actually reassure them that if they are friendly, open and passionate, they will be fine.



If the fun stops, stop.


Rough Trade magazine available in-store or online.