What Journalists Should Know Before Switching to PR

'Get ready to have that ego and personal identity tested'

4 min read • Originally published January 26, 2016 / Updated March 19, 2026

For those journos who are ready to say “so long” to whittling word rates and chasing checks, we decided to address (and sometimes debunk) a few of the most common myths about jobs in the PR biz.

As it turns out, while the transition is rarely seamless, many seasoned PR pros have made the leap—and are thrilled that they did. Here’s what journalists should know before switching to PR.

TRUE: “PR moves much slower than the newsroom.”

“Here’s one similarity between journalism and corporate communications: No two days are ever the same,” says Paul Nonnenmacher, communications strategist, coach and former reporter.

Yet, when it comes to pace, Nonnenmacher concedes, “The corporate review [and] approval process is more challenging, because deadlines are sacrosanct for journalists but much less so for corporate managers and executives.”

At its worst, the natural inclination to rush and wrap a project can be construed as a half-baked effort by higher ups that are used to far longer timelines.

FALSE: “Publicists have to promote clients they may not believe in (or even like).”

Lauren Gard, a former associate editor at Marie Claire, was turned onto the idea of PR when one of her trusted contacts suggested she’d make a good fit at his small firm. After a couple of years of further prodding, her trepidation gave way and she took him up on the offer.

Today, she’s a partner at Zumado Public Relations, but back then, her primary concern was representing clients who matched her values:

“I think it’s a matter of finding the right opportunity and not just leaping at the first one to come along. For me, initially working at an agency that promoted our clients’ expertise in various professional services fields like law and finance, as opposed to promoting consumer products, for instance, was the perfect fit. When I decided that moving in-house in a PR capacity might be a good option, I found my current position through a personal connection and did a lot of research on the company to be sure it was one I felt personally aligned with.”

This is where that journalism experience comes in handy. Cruise a potential employer’s media site, dig around their product or services pages, interview executives if you have the opportunity, find out what they’re about and, most importantly, trust your gut instincts.

TRUE: “Journalists will respect me more, because I understand what they want.”

“Most journalists have to admit they probably have an ego. Get ready to have that ego and personal identity tested,” advises J.P. Hervis, a 12-year TV news reporter and anchor veteran and new president to his new PR firm, Insider Media Management.

“You are no longer going to be the approached…you will become the ‘approachee.’ An inevitable ego hit comes with that, especially if you are pitching someone who is younger and/or working at a smaller station/paper or magazine than you worked in. It is a real shock early on. You have to constantly remind yourself why you switched.”

For Hervis, it was maintaining the ability to simply be a good storyteller “And isn’t telling a memorable, relatable, relevant story an audience will connect to what journalism, er, PR is all about?” he asks.

FALSE: “PR is easier than journalism.”

According to Nonnenmacher, PR “requires language skills, people skills, a breadth of knowledge, a news sense and an adherence to deadlines, and there’s no place to develop those traits than in a newsroom.”

Yet, while experience in journalism primes a savvy communicator for PR like no other opportunity, it does not ensure that joining a communications team will be a breeze.

“Corporate culture is an adjustment,” explains Ramey Becker, former TV reporter and current strategic communications consultant for msgwrks ltd.

Perhaps most eye-opening, cites an honest Becker, “You realize how much you don’t know about the real (read: business) world.” To soften the blow, Becker maintained connections with a former radio reporter who had successfully transitioned to governmental communications and served as a patient resource and mentor to her.

Lesson learned: Keep networking with those who have crossed over to the dark side.

Tips for journalists making the move to PR:

Know the difference between agency and corporate positions. Agencies often lend the rush and excitement of a start-up, offering new business wins and fresh clients, but corporate roles traditionally offer greater growth and salary opportunities.

Decide what type of communicator you are. Consider your strengths (writing or digital media management, for example) and leverage them if you need to get a foot in the door. Once you’re on staff, commit to learning the generalist trades; it’s critical to developing a well-rounded resume. Think: strategy, event planning, social media and even high-level knowledge of media buying.

“Remember to keep operating as a journalist.” Hervis explains: “The best part about who you are in PR is who you were and where you worked before. My media friends and contacts know they can call me and talk shop anytime, and I’m the same person. They also trust that I won’t pitch them a non-story.”

Looking to break into PR? Start with one of Mediabistro’s Public Relations courses. Taught by industry professionals, these courses help you up your skills, enhance your resume and land your dream job.

Topics:

Be Inspired, Career Transition, Get a Media Job

Journalism Advice

6 Ways to Track Down a Magazine Editor’s Email for Your Pitch

Harness your sleuthing skills to get your pitch into the right hands

By Kristen Fischer

Kristen Fischer is a freelance writer, journalist, and copywriter with over 20 years of experience, currently serving as a health writer for AARP with previous staff roles at WebMD and WW. Her work has appeared in Prevention, Healthline, Woman's Day, Parade, and Writer's Digest, and she is the author of four books.

5 min read • Originally published February 2, 2016 / Updated March 19, 2026

By Kristen Fischer

5 min read • Originally published February 2, 2016 / Updated March 19, 2026

Creating a winning magazine article idea and then articulating it into a knockout query letter is challenging enough for most writers, but all that hard work can be pointless if the pitch never reaches the right editor.

Publications make it hard to contact them on purpose in order to weed out inexperienced wordsmiths, says Jodi Helmer, a freelance writer based in North Carolina.

And since exploratory skills are an essential part of writing, editors like to know that a journalist is a good enough reporter to find their elusive email addresses.

So, want your pitch to land in the right hands? Follow these tried-and-true strategies to harness your inner Sherlock Holmes.

1. Know the Hierarchy

“I think oftentimes one of the mistakes writers sometimes make is they pitch to the wrong editor,” says Scott Hays, a freelance writer and adjunct college instructor in California.

An editor-in-chief or executive editor of a national publication isn’t likely to read freelance pitches, he says, so instead work your way down the masthead.

If specific sections or topics aren’t listed for each editor, your best bet is to try the managing editor or articles editor, either of whom can generally point your query in the right direction.

And, as you amass information, keep track of it! One idea is to create a color-coded database based on responses received. Even if it’s an out-of-office vacation message, it’s still good to know who you’ve contacted.

2. Hit the Press (and Sales) Room

A magazine’s online press room can be a treasure trove of information. It’s often listed on the parent company’s website under “press” or “media contacts,” and editors working on special issues or events associated with the brand may be quoted in press releases there.
Those releases will end with media contacts for the magazine, who have—you guessed it—an email address.

So, if you see the publicist’s address is maryjones@magazine.com, odds are others at the company follow a similar “firstnamelastname” format.

Another tactic is to look at the magazine’s media kit. Again, these typically list the magazine’s sales reps, and you can use their contact info as a guide.

Only a general email address listed? Just email a request for a media kit, and when a real person responds, follow up with their email address.

Pay attention, though. It’s possible that the publicists or sales reps handle more than one magazine in the company, so their addresses could be @parentcompany.com rather than having the same @magazine.com domain as the editors.
If you’re unsure, just try both until you get a lead.

3. Ask Other Writers

The writing community can be a valuable source of information, especially if you’re not familiar with a specific publication.
Check out FreelanceSuccess, AbsoluteWrite, Upod, and the American Society of Journalists and Authors. You may have to pony up some money to join some organizations, but a good assignment will likely more than cover that expense.

Furthermore, if you read a good story in your favorite publication, hit the Internet to find the writer behind it. Most published writers remember what it was like to be a rookie and will be more than happy to share the email conventions for the publications they work with.

Just don’t expect anyone to copy their entire roster for you. Take time to get to know members of any writing community you join or peers you meet, and be willing to offer help for their projects as well.

4. Use Social Media

Chicago writer Aubre Andrus says she uses Twitter to follow editors at the magazines she has her eye on. If she finds an editor’s message interesting, she’ll retweet it or respond.

“I build up a little relationship, or at least get them to recognize my name, then I send them a tweet asking if I can email them a pitch.
“That’s how I got into National Geographic Traveler,” Andrus says. “The editor sent me a direct message with her email address and we went from there!”

Andrus says virtual tweet-ups also can be a good place to connect live with an editor. “This is also a great way to get your name in front of an editor or at least show that you’re actively involved in the industry,” she adds.

If you spot an editor’s personal website with a non-work email address, resist the temptation to pitch through it.
Editors are people too and typically like keeping their personal and professional inboxes separate; you can come across as a pest by pitching through a side door. Instead, keep using the web to sniff out a work address.

It may take longer, but it will keep you on an editor’s good side and make them more receptive to your ideas.

5. Read Industry News

Media reporters keep up with industry changes and will often cover who’s coming and going well before an IT department can deactivate an email address or an art director can remove a name from a masthead.

If you read about new editorial hires or promotions, chances are those folks will be on the hunt for new ideas as they look to make a good impression in those crucial first 90 days on the job.

6. Pick Up the Phone

“I think too many writers are afraid to do this and rely too heavily on email,” says Kelly James-Enger, author of Six-Figure Freelancing.

Yes, we know dialing up an editor seems kind of analog, but James-Enger says it can still work when all else fails. However, the key isn’t to pitch over the phone—it’s to get accurate contact information.

So, it really doesn’t matter whether you speak to an editorial assistant or a receptionist. Just say something along these lines: “Hi, I’d like to send a pitch for your ‘Easy Recipes’ page. Can you tell me who handles that section?”

Even better: “Hi, I have a great idea for your ‘Easy Recipes’ section, and I have the assigning editor’s email address as JaneRobbins@magazine.com. Can you confirm?”

Nine times out of 10, the person will give you a yay or nay or—if you’re totally off-target—will tell you who to pitch instead.
Either way, demonstrating that you’ve already done most of the legwork frees the person on the other end of the line to simply fill in the blanks and move on to the main objective: getting off the phone.

All this searching and investigating can be draining, but it comes with the job. And you are a reporter, remember?
If you don’t hear back from an editor, says Hays, follow up with a quick reminder or approach another editor for one last push.

He explains, “If I’m really going out of my way to think thoroughly through who I’m pitching, why I’m pitching, what I’m pitching, and I’ve spent time working the pitch, then it’s only respectful that they respond somehow, someway.”

Topics:

Go Freelance, Journalism Advice

Advice From the Pros

How I Broke Into Social Media

“I was the youngest person on staff; I don't recommend that these days.”

By Rebecca Borison

@borisonr

Rebecca Borison is a tech reporter at The Street.

4 min read • Originally published February 9, 2016 / Updated March 19, 2026

By Rebecca Borison

@borisonr

Rebecca Borison is a tech reporter at The Street.

4 min read • Originally published February 9, 2016 / Updated March 19, 2026

Delia Paunescu is rocking at social media. As audience engagement editor at Newsday and amNewYork, she’s on top of the two newspapers’ social channels, but she also keeps up her personal brand across Twitter and Snapchat.

Delia started out as a writer and found her way into social media purely for being the youngest person in her newsroom. While that may have worked for Delia, she warns that age alone is not enough nowadays. Here, Delia passes on tips for aspiring social media pros who won’t be able to rely on their relative youth.

Current job: Audience engagement editor for Newsday Media Group
Past jobs: Social media coordinator for New York Post, social media coordinator for Food Network, assistant editor for Vision Monday, freelance web editor for Parenting Magazine, production intern on Showbiz Tonight
Hometown: Born in Romania, grew up in Tampa, FL
Education: Hofstra University

What do you do as an audience engagement editor?

I oversee the social media team and all our social properties. I’m also in meetings with editors and reporters trying to figure out how social can enhance their upcoming stories and projects, and how those stories and projects can be shaped to have maximum impact on our social properties.

How did you get into social media/audience engagement?

My very first reporting job also involved being the social media editor for a small B2B magazine called Vision Monday. I was a retail reporter rooted in the optical industry. I was also the youngest person on staff at the time, so they made me in charge of the Twitter password. I don’t recommend that these days, but it was fairly common practice in 2010.

What’s it like acting as the voice for a large publication?

It’s great fun but also terrifying. There’s always a fine line between being cheeky and having a personality for your brand and being too off-the-cuff and getting your publication in trouble.

How do you think social media strategy differs on Twitter versus Facebook or other platforms?

The platforms are different and the audiences are different. Stories on Facebook have a longer shelf life. You never fully know what major brand or celebrity will share your story, when it’s going to grab mass attention or to whom Facebook’s algorithm will show your story. For those reasons, it’s important to really get to know your audience and see what resonates with them.

On Twitter, it’s like a waterfall: information is constantly flowing and any one person will only dip their content cup in so many times throughout the day. It’s important to have something going constantly, but that also means you can play a story several times in the course of a day.

The main commonality for both platforms is that audiences are always receptive to new and cool ways of relaying information. It’s very exciting to see news organizations finally taking some creative freedom with how they present and share their pieces.

What advice do you have for someone trying to get into social media?

First you have to read everything you can. You have to know what’s going on with everything that interests you in this field. When you meet the people you’re ideally already following on Twitter and Instagram and Snapchat, the ones who are going to help you in your career, you’ll legitimately know what you’re talking about.

You also have to put yourself out there and chat up as many people as you possibly can. You have to ask for what you want, but you also have to do the work to deserve it. Older folks are easily impressed by young go-getters. It’s the “give me a job cause I want one” crowd we steer clear of.

Believe that it’s possible to make it in this field. Stick to what you really truly love but make sure you’re as versatile an employee as possible. Modern newsrooms are leaner than ever, so the more you know to do, the better your chances of sticking around.

Who is your favorite person to follow on Twitter?

This is probably the most difficult question. For that very reason, I made this list of all my favorite ladies on Twitter. It’s amazing to look at during any live event because they all have the most brilliant, non-irritating insights.

What’s your personal favorite social media platform?

Way back when, I loved Xanga. Hated MySpace. Loved Facebook. Loved Instagram. Currently obsessed with Snapchat (find me @deliapproved).

This interview has been edited for length and clarity.

If you’d like to hone your social media skills, consider taking a class. Mediabistro’s Online Courses offer social media topics that range from a crash-course in social media engagement to an in-depth analysis of social media metrics.

Topics:

Advice From the Pros, Be Inspired

Job Search

What Job Seekers Should (and Shouldn’t) Include on Their Social Media Profiles

Leverage social media to get the gig

By Kristen Fischer

5 min read • Originally published February 12, 2016 / Updated March 19, 2026

By Kristen Fischer

5 min read • Originally published February 12, 2016 / Updated March 19, 2026

Social media can be a huge asset for job-seekers. That is, if you have a solid profile.

What does your social media profile say about you? What should you put on it—and what should you leave off? Follow these tips to ensure your Twitter, Facebook, LinkedIn, Pinterest (and whatever comes next) pages are a reflection of your best self.

1. Descriptions of Previous Jobs

Using the job descriptions on a site like LinkedIn, you can paint the picture of how you made an impact in your previous roles by sharing details of your job duties and accomplishments.

“I think it’s bad for anybody not to have content or descriptions,” says Barbara Safani, president of Career Solvers in Manhattan. “For a writer, there’s a lot of opportunities to build [the profile] out past the traditional chronological and achievements of a resume.”

For example, if you’re a reporter, instead of just saying that you covered city hall, tell which stories you broke, that you have over 100 top-level sources in local government or that your investigation led to the modification of a law. Of course, LinkedIn provides much more space for this than Twitter or even Facebook. For those sites, it’s best to keep it brief by listing…

2. A Niche or Specialty

Most social media profiles offer a spot for a headline and summary, so writers need to take advantage of them, Safani notes. You can do this succinctly by mentioning your area of expertise as well as how your unique skill set helps you stand apart from the competition.

Lindsay Oberst, a writer from Atlanta, says it’s important to show a little bit of your personality by including a quirky or interesting detail, as well. “This way, people reading your profile won’t be bored, and you’ll increase the odds that they’ll remember you,” she adds.

3. Links to Your Work or Clips

Safani says that creative people can add personality to a standard profile by using the applications on LinkedIn, which let users showcase some of their work samples. If you do not use applications, you can link to your work whether it’s on your own website, or on your Mediabistro Freelance Marketplace listing.

“You also want to give a brief summary of your professional life anywhere that you are given the option—even in your Facebook profile,” suggests Margo Dill, a freelance writer based in St. Louis who teaches classes for wow-womenonwriting.com.

4. Charity Work and Professional Affiliations

Even if it doesn’t relate to the media biz, fulfilling work you do outside of a paying job can be a great conversation starter. Plus, you never know if the person scoping out your profile knows someone involved in that organization.

So, if you spend Sundays tutoring kids at the local community center or helping your child’s PTA organization, include it on your profile.

Likewise, listing professional groups you belong to is a good idea because it builds credibility.

5. Contact Information

This should go without saying, but unfortunately far too many people forget the basics. As someone who regularly scopes out the Web for creative professionals to interview, I can’t tell you how many wordsmiths do not have their contact information prominently displayed—or added at all.

Even if you simply link to your website or other social media profiles, that’s a pivotal step. The whole point of having a social media profile is to connect with other people, so—duh—give them the means to do so.

6. A Photo of Yourself

“You definitely need a profile photo that is a headshot of you,” says Dill. “It does not have to be from a professional photographer. It can be something your spouse took, but it should be you, smiling, wearing nice clothes.”

A shot of your newborn baby, the dog eating your shoe or that beloved Gandhi quote do not count.

That says, leave off anything incriminating that you wouldn’t want your mama to see. Photos of yourself giving a presentation at a trade organization conference? Add ’em. Pictures of what happened after the after-hours cocktail party? Skip ’em.

7. Professional, Well-Written Content

If your profile is public, prospective employers or industry peers can see anything you have on it. So, whether in the headline, summary or body of the profile, make sure it does not contain any typos. “It’s even more important that a writer have a well-written profile,” Safani says. “They’re under a little bit more of a microscope.”

And, although everyone tends to mix the personal and professional online, be mindful that anything even slightly offensive could reflect poorly on you—even if you aren’t currently job hunting. That includes political cartoons, t-shirts with wacky slogans or images or if you “Like” a statement on someone else’s wall.

Tracey Minkin, a freelance writer based in Providence, R.I., says “I have an eye constantly to the fact that people who want to hire me…would want to look at my Facebook page.”

The Bottom Line

Social media profiles are part of your calling card to the rest of the world, so exercise caution when posting. Keep the more personal content on a separate, private account that isn’t listed under your real name.

If you’re on the fence about what to post and what to leave off, think about how you view other people’s profiles. Would you want to hire someone if a lot of their posts sound depressing or use vulgar language? Probably not.

For Minkin, having an active Facebook wall makes her more hirable. “I’m more appealing because [potential clients and employers] see… I’m not embarrassed to promote my own content and the content that’s important to me,” she says.

When you’re job hunting, it’s a sure thing employers will be checking your LinkedIn profile. Impress them with a LinkedIn Profile Edit: Leverage one of our dedicated career advisers to ensure your profile aligns with your resume and professional experience.

Topics:

Get a Media Job, Get Hired, Job Search

Career Transition

How to Break Into Medical Writing and Editing

If you can handle complex jargon and love research, this growing field could seriously boost your career and your paycheck.

By Kristen Fischer

6 min read • Originally published February 23, 2016 / Updated March 19, 2026

By Kristen Fischer

6 min read • Originally published February 23, 2016 / Updated March 19, 2026

If you enjoy research, are skilled in technical writing and can understand complex jargon, becoming a medical writer or editor could be the perfect way to expand your portfolio and your paycheck.

“The opportunity for good medical communicators is tremendous and is continuing to grow,” says Brian Bass, co-author of The Accidental Medical Writer. “The medical communications field is very broad as well as very deep.”

Bass says there are two categories of people who come into the field: those with a scientific background who want to prove they can write or edit, and those who have a strong editorial aptitude but want to show they can handle scientific content.

If you can break into the field, you stand a chance to build a strong career in it. And if you can leverage your existing skill set, it’ll be that much easier to prove your worth.

Immerse Yourself in the Field

There are different tiers in this specialized editorial arena: the publishers of books and medical journals, which tend to pay less, and the higher-paying companies, like advertisers and pharmaceutical companies.

There’s also a market for more consumer-friendly articles in magazines and trade publications. No matter what you tackle, you’ve got to know how to understand and interpret complex lingo.

Bass recommends reading information from drug company websites, foundations, medical magazines and other media to help you see which type of writing is represented in which therapeutic areas.

For instance, you will probably find an article on WebMD easier to read than one in the Journal of Clinical Psychopharmacology.

That’s because audiences vary in the medical communications field: You can write or edit marketing collateral or magazine articles for consumers, or produce technical content geared directly at physicians.

“[To start], you need to start adapting yourself to the language of medicine,” Bass notes.

Knowing how to understand a technical dialect and properly convey it isn’t the only necessary skill. The medical field is governed by some pretty tight regulations, and you’ll be an asset if you know how to understand and apply those standards.

The Food and Drug Administration website is a great place to start learning about what can and cannot be said, Bass advises.

Writing vs. Editing vs. Copy Editing

According to Bass, you don’t have to be Doogie Howser to succeed in the field, especially if you come in on the editing side, which typically requires fewer credentials or industry experience. Editors make sure content is consistent and in compliance with regulatory standards.

Medical writers, however, need to understand more about a therapeutic area and use that in-depth knowledge to relay information about it, so getting in as a freelancer (especially one with no medical background) can be tougher.

But that doesn’t mean it’s impossible. Just as you would build clips in your general portfolio, offer to take on a writing or editing job pro bono, or create a hypothetical piece of content to prove your editorial capability.

You could write a column in your local newspaper on the health industry or offer to create a brochure for a medical practice, suggests Bass. Then once you’re in the industry, you can break into more technical areas, or segue into the more lucrative side: medical writing.

Copy editing can also be a good start, but make sure that’s your preferred field so you don’t get pigeonholed unnecessarily, says Laurie Lewis, a New York City-based medical writer and author of What to Charge: Pricing Strategies for Freelancers and Consultants. If writing is your forte and you’re good at putting information into layman’s terms, try penning articles for a patient education type of medical website. Lewis says the market is flooded with them.

“They need people who are good copy writers in a sense that they can tell a story; they can engage the reader; they can provide information,” she says. “The journalists, they are storytellers. They are educators. And they have to be able to put it into terms that ‘Joe Blow’ can understand.”

Prepare for Pay Day

In general, if you come in on the editing side the pay is less, but that’s still a good way to break in. Full-time medical editors can start at around $24,000 a year (other organizations have the base around $37,000) and earn up to about $70,000, according to PayScale.

Medical writers fare even better. According to an American Medical Writers Association survey, the mean salary for a woman with a bachelor’s degree in the field working full-time was $73,522, while men earned $90,640.

Having a master’s gets you even more dough, according to the survey: Women with those degrees earned $77,339, and men got $86,240. Advanced degrees such as a PharmD are the big payouts: females with advanced degrees got $91,797, and men earned $101,872.

Writing for an academic institution was on the lower side of the pay scale, while writing in the biotechnology or pharmaceutical field paid highest. Freelancers should expect to earn about the same.

A promising payday is great, but you have to make sure you enjoy the work enough. Medical writing and editing isn’t an easy field to “test out.” Research it and be sure you want to work hard to get your foot in the door.

The field is also very competitive. Just as in the media biz, the slow economic recovery has meant even more candidates are vying for jobs. Organizations will be pickier about whom they hire because skills are at a premium.

“There is a perception that there is a lot of work in the medical field and it is very high-paying,” notes Lewis.

“People who want to go the route that I went as a copy editor/proofreader and moving up aren’t necessarily going to find that it’s very well paying. Some of that work is still going to be from the publishing industry, or it’s going to be from companies that don’t want to pay the higher rates that the pharmaceutical work pays.”

Getting Started

Emma Hitt Nichols, PhD, a medical writer who runs her own agency in Georgia, began her career editing dissertations and scientific papers for non-English scientists. Eventually, she finished her PhD and nabbed a master’s in technical writing as well. Today, she creates continuing education materials for doctors specializing in oncology, infectious diseases and other medical topics.

To get started as a medical writer or editor, she suggests that editorial professionals do the following:

1. Join American Medical Writers Association. The AMWA offers an educational certificate that can give you credibility as a medical writer. “For people with some experience in the science/editing field, the BELS exam is good to take. This will give the ‘ELS,’ or ‘Editor in the Life Sciences,’ designation after your name which tells others that you have passed a stringent editing test,” she notes.

2. Join the Council of Science Editors. This is a premier industry organization for medical editors.

3. Get familiar with PubMed. Most medical writers are on PubMed every day, as the site includes 21 million citations for biomedical literature from MEDLINE, or Medical Literature Analysis and Retrieval System Online, a database of life science journals and books online. It is an essential tool for medical writers.

4. Sign up for The Hitt List. That’s Hitt’s free newsletter packed with medical writing job opportunities.

5. Learn AMA style. That’s American Medical Association style; AP and Chicago style is only used at consumer and trade publications. Simply knowing AMA isn’t enough to become a medical writer, warns Hitt, but it can get you in the door as a medical copy editor.

Looking for a medical writer or editor job? Check Mediabistro’s job board, where publishers, advertisers and marketers regularly post related job openings.

Topics:

Be Inspired, Career Transition

Skills & Expertise

Art Director – What They Do and How to Be One

Tap those Photoshop skills and visual sense to make a big impact

By Jenell Talley

Jenell Talley is a journalist and program analyst with a background spanning media, government, and editorial work. She holds a journalism degree from Howard University and a master's in human resources management from the University of Maryland.

6 min read • Originally published February 29, 2016 / Updated March 19, 2026

By Jenell Talley

6 min read • Originally published February 29, 2016 / Updated March 19, 2026

You’ve used your design skills to help others bring their creative vision to fruition long enough. It’s time to take a seat in the art director’s chair and execute your own wildly imaginative ideas. Check out what pros say about art director positions, then get those creative juices flowing!

What exactly does an art director do?

Specific duties of art director positions may vary depending on industry, but in general, art directors set the artistic tone of a project, using visuals to bring concepts to life for websites, magazines and newspapers, ad campaigns, television and film, photo shoots and video games.

“Every day is different, [and] that’s what I love most about my job,” says Kaitlyn Angstadt, senior art director at Brownstein Group, an advertising agency in Philadelphia. Angstadt spends some days holed up in a room with other creatives conceptualizing an ad campaign while others are spent creating a brand’s identity or layouts for a print ad. And then there are the days she’s at a photo shoot overseeing its production, ensuring the concept is realized.

It’s all about kick-ass imagery, according to Michael Brittain, who functioned as FX Networks’ art director during his years as the cable channel’s director of print. Brittain was responsible for coming up with movie, TV and video-game posters and turning those ideas into iconic imagery to use in ad campaigns. “It can be very challenging to create a piece of art that is good enough to hang up on the wall, that you’re proud of, that sets the bar higher for art in entertainment advertising,” says Brittain, now the creative director of Ignition Creative, an integrated marketing agency based in Playa Vista, California.

What skills do you need?

Strong conceptual skills are a given. “To create something meaningful, you must start with a strong idea,” says Angstadt. “This is the backbone of commercial art.”

Good communication skills are also essential. Your team has to understand what you want in order to deliver it. Clearly articulate your vision or risk jeopardizing the quality of the project.

A background in and knowledge of art history, photography, graphic design and typography are important too, says Brittain, as is being able to create with your hands. Photoshop has made art more accessible, but “being a hands-on artist transcends just buying an application for your computer.”

Who would be my boss?

Executive creative directors or associate creative directors are the usual head honchos, the latter often being the next rung on an art director’s career ladder.

Are there other titles with similar responsibilities?

Though they may be higher on some company hierarchies, design directors and creative directors are also responsible for conceptualizing projects and guiding their implementation.

What do I need to get ahead in this position?

As an art director, you’re always on, Angstadt says. “There’s never a time when you’re not thinking of new ideas,” so loving what you do is important. Ditto having a thick skin. In this line of work, as with other creative jobs, you have to be able to take criticism, even when you don’t agree with the feedback. If you don’t hit it out of the park the first or second or third go-round, dust yourself off and try again. It’ll make your home run that much sweeter.

How can I get my foot in the door?

Kick off your career with a degree in art or (graphic) design and a portfolio that will impress potential employers.

Breaking into an art director role

Stepping into the role of an art director is no small feat. It requires not just a mastery of design principles and a deep well of creativity but also the ability to lead, inspire, and communicate effectively with a team. Your journey from honing your craft to leading projects as an art director will be filled with challenges, learning opportunities, and, most importantly, moments of creative triumph.

Remember, the essence of becoming a successful art director lies in marrying visionary ideas with practical execution. It’s about pushing the boundaries of what’s possible while remaining grounded in the projects’ and your team’s needs. As you navigate your path, keep your creative fires burning, remain open to feedback, and never stop learning and experimenting. The world of art direction is dynamic and ever-evolving, offering endless opportunities to those willing to take the reins and drive their creative visions to fruition.

So, arm yourself with a strong portfolio, a resilient spirit, and an unquenchable passion for your craft. The art director’s chair awaits those ready to lead with creativity, imagination, and determination. With each project, you’ll bring visions to life and carve out your unique mark in the creative world. The journey may be complex, but the rewards of seeing your ideas influence and inspire are unparalleled. Here’s to your future as an art director—may it be as vibrant and impactful as the work you aspire to create.

Find the art director position you’ve been searching for on Mediabistro’s job board.

FAQs on Advancing to an Art Director Position

1. What are the primary responsibilities of an art director?

Art directors are responsible for setting a project’s artistic vision and direction. This role involves using visuals to bring concepts to life across various platforms such as websites, magazines, advertising campaigns, television, film, photo shoots, and video games. Daily tasks vary greatly, from conceptualizing ad campaigns and creating brand identities to overseeing photo shoots to ensure the vision is accurately realized.

2. What skills are crucial for an art director?

Key skills for an art director include strong conceptual abilities, excellent communication to articulate vision and ideas clearly, and a solid background in art history, photography, graphic design, and typography. Being a hands-on artist and having proficiency in tools like Photoshop are also important, but creativity extends beyond software skills.

3. Who typically oversees art directors in a creative organization?

Art directors usually report to executive creative directors or associate creative directors. These positions are often seen as the next steps in an art director’s career progression, offering opportunities for further advancement within the creative hierarchy.

4. Are there similar roles to art directors in the industry?

Yes, roles such as design directors and creative directors carry similar responsibilities, including conceptualizing projects and guiding their execution. These positions might be ranked differently within company structures but share the core task of leading creative direction.

5. How can I stand out and succeed as an art director?

Passion for your work and the ability to continuously generate new ideas are essential for success. Resilience and the ability to accept and learn from criticism are also crucial, as the creative process often involves multiple iterations before achieving excellence. Staying engaged with your creative pursuits and maintaining a thick skin in the face of feedback are key traits of successful art directors.

6. What educational background and initial steps are recommended for aspiring art directors?

A degree in art or graphic design, coupled with a compelling portfolio that demonstrates your creativity and skill, is the foundation for launching a career as an art director. Your portfolio should showcase diverse work and highlight your ability to conceptualize and execute your creative vision effectively.

7. Where can I find job opportunities as an art director?

Job boards dedicated to creative careers, such as Mediabistro, are excellent resources for finding art director positions. Networking within the industry and maintaining an up-to-date portfolio can also open doors to opportunities.

8. What is the importance of having a “thick skin” in the art director role?

Creative work often involves subjective evaluation, which means art directors must be open to feedback and criticism. Developing a thick skin allows you to learn from critiques without taking them personally, enabling growth and improvement in your creative output. In the face of criticism, resilience is crucial for personal and professional development in creative fields.

Topics:

Climb the Ladder, Skills & Expertise

Advice From the Pros

When Working for Free Can Actually Pay Off

A practical framework for deciding whether unpaid work is a smart career investment or a waste of your time.

By John Lombard

John Lombard is a content strategist and writer with over a decade of experience creating interactive and video content for brands like Apple, IBM, and Samsung. He previously worked at Mediabistro and now serves as a Client Strategist at Ceros.

6 min read • Originally published March 9, 2016 / Updated March 19, 2026

By John Lombard

6 min read • Originally published March 9, 2016 / Updated March 19, 2026

Last updated: January 2026

You want to get paid what you’re worth. That makes sense. But sometimes turning down unpaid work can be more detrimental to your career than you’d think—and sometimes accepting it is a mistake.

The difference comes down to whether the opportunity builds your value and increases your exposure, or simply exploits your time. Here’s how to tell the difference.

When Working for Free Can Make Sense

Unpaid work isn’t inherently good or bad—it depends entirely on what you get in return. Consider working for free when:

You’re building a portfolio from scratch — If you have no clips, no samples, and no experience, strategic free work can give you something to show
You’re changing careers — Pro bono projects in your target field can help you gain skills and credibility
The exposure is genuinely valuable — A byline in a major publication or work for a high-profile client can open doors
You’ll learn skills you can’t get elsewhere — Working under an expert mentor or on sophisticated projects
It’s a clear path to paid work — Internships or trial projects with a realistic chance of becoming paid positions
You’re unemployed and networking — Volunteering keeps your skills sharp and puts you in front of potential employers

Gary Vaynerchuk on Strategic Free Work

Gary Vaynerchuk—entrepreneur, author, and founder of VaynerMedia—has built a career on hustle and strategic thinking. In his book #AskGaryVee: One Entrepreneur’s Take on Leadership, Social Media, and Self-Awareness, he addresses when working for free makes sense.

When You’re Unemployed

If you’ve been job searching without success, Vaynerchuk argues that pro bono work beats sitting idle:

“Don’t want to work for free? Well, it seems to me that if you’ve been struggling to get a job for three or four months, it’s a lot more productive than sitting around doing nothing. I mean, who’s paying you to do that?

Take a pro bono half day in a place where you can pick up skills, network, learn your craft, and get an employer’s attention (or at least guilt her into recommending you to someone else). Unless you are literally sending out résumés and interviewing eighteen hours straight per day, you’ve got time to volunteer your professional talent somewhere. Find a place where you think you can make doors open, and put your skills into action.”

When You’re Changing Careers

For career changers, Vaynerchuk sees free work as a way to gain experience and mentorship:

“The best way to become something is to do the work required to become something. Sell, sell, sell. Figure out what it takes to provide value. Learn how to communicate your value proposition. Engage with your customers. Find mentors.

Go work for free and under people who can show you the ropes and serve as that point of contact when you need it. Learn the hustle and taste the game. Put yourself in the position to win.”

5 Questions to Ask Before Working for Free

Before accepting unpaid work, honestly evaluate the opportunity:

1. What specifically will I gain?

Can you name the concrete benefits? Portfolio pieces, industry contacts, specific skills, mentorship, a foot in the door at a target company? Vague promises of “exposure” aren’t enough.

2. Is this a one-time project or ongoing exploitation?

A single strategic project is different from an indefinite unpaid arrangement. Set clear boundaries on scope and timeline.

3. Can I afford it?

Be honest about your financial situation. Free work only makes sense if you can sustain it without compromising your basic needs.

4. Would they pay someone else for this?

If the company has the budget to pay for the work but chooses not to, that’s a red flag. If they genuinely can’t afford it (nonprofits, startups, passion projects), the calculus is different.

5. Is there a realistic path to paid work?

Has the company hired from its volunteer or intern pool before? Is this a trial period with a clear evaluation point? Or is “potential for future opportunities” just a way to get free labor?

When to Say No to Unpaid Work

Not all free work is strategic. Walk away when:

You already have experience — If you have a solid portfolio and track record, you shouldn’t need to work for free
The “exposure” isn’t real — A small audience, no byline, or hidden credit provides little value
It’s a profitable company — Businesses that can afford to pay but choose not to are exploiting you
There’s no clear end point — Open-ended unpaid arrangements rarely convert to paid work
You’re replacing paid workers — If the role would normally be compensated, you’re devaluing the entire field
It compromises your finances — You can’t build a career if you can’t pay your rent
Your gut says no — If something feels exploitative, trust that instinct

How to Structure Unpaid Work Strategically

If you decide to work for free, protect yourself:

Set Clear Boundaries

Define the scope, timeline, and deliverables upfront. “I’ll write three blog posts over two weeks” is better than “I’ll help with content.”

Get Something in Writing

Even informal agreements should be documented. Include what you’ll deliver, what you’ll receive (credit, portfolio rights, reference), and when the arrangement ends.

Negotiate Non-Monetary Compensation

If they can’t pay cash, ask for:

A strong LinkedIn recommendation
Introduction to specific contacts
First right of refusal for future paid work
Credit or byline in prominent placement
Access to training, tools, or events

Set a Review Point

Agree to evaluate the arrangement after a set period. If it’s not delivering value, end it professionally.

Ready to find paid opportunities? Browse jobs on Mediabistro.

FAQs About Working for Free

Should I ever work for free?

It depends on your situation. Strategic unpaid work can make sense early in your career, when changing fields, or when the opportunity offers genuine value (skills, mentorship, connections, portfolio pieces). It rarely makes sense if you’re experienced, if the company can afford to pay, or if the “exposure” isn’t meaningful.

Is working for free legal?

It depends on the arrangement. Unpaid internships at for-profit companies must meet specific Department of Labor criteria to be legal. Volunteer work for nonprofits is generally allowed. Freelance “spec work” exists in a gray area. When in doubt, research the laws in your jurisdiction.

How long should I work for free?

Set a clear end date before you begin. A single project, a two-week trial, or a semester-long internship are reasonable. Open-ended unpaid arrangements rarely benefit the worker and should be avoided.

Will working for free hurt my earning potential?

It can if you’re not strategic. Working for free when you should be paid devalues your skills and sets a precedent. But targeted pro bono work that builds your portfolio or gets you in the door at a dream company can ultimately increase your earning potential.

How do I say no to unpaid work requests?

Be professional and direct: “Thank you for thinking of me, but I’m not able to take on unpaid projects at this time. I’d be happy to discuss a paid arrangement if your budget allows.” You don’t owe anyone a lengthy explanation.

Is “exposure” ever actually valuable?

Sometimes—but be skeptical. Exposure is valuable when it reaches your target audience, includes proper credit, and comes from a respected source. “Exposure” from a small blog, an uncredited project, or a company outside your industry is rarely worth your time.

Should I work for free for a nonprofit?

Nonprofits are one of the more defensible places to volunteer your professional skills. The cause matters, they often genuinely lack budget, and the work can be meaningful. Just make sure it’s truly volunteer work and not a way to avoid paying for positions that should be compensated.

Topics:

Advice From the Pros, Be Inspired

Work Spaces

How to Be Your Own Publicist

Branding experts reveal ways to market your best product: yourself

By Vicki Salemi

5 min read • Originally published March 11, 2016 / Updated March 19, 2026

By Vicki Salemi

5 min read • Originally published March 11, 2016 / Updated March 19, 2026

Whether or not you work in public relations, in this day and age we’re basically all publicists and masters of our own communications.

We have the potential to become personal branding gurus displaying the best product—ourselves—in the best possible light offline, online and all the time.

Brand Thyself

Jeffrey Hayzlett, host of The C-Suite on Bloomberg, explains, “Every person is [his] own brand and you have your own promise to deliver. Do you want somebody else telling that story or do you want to tell it?”

The author, speaker and sometime cowboy adds: “If you don’t tell your story, if you don’t represent yourself, someone else will do it for you. I would much rather control what’s said of me and how it’s said than having other people do it. And I’d like to react to that as well.”

Beth Feldman agrees. The co-founder of full-service public relations consulting firm BeyondPR Group and founder of parenting blog network RoleMommy.com emphasizes putting yourself out there “no matter how uncomfortable that may feel.”

And if you feel uneasy talking about yourself on TV or radio, Feldman suggests hiring a media trainer to get you comfortable in an interview situation.

Feldman also suggests reading Outliers by Malcolm Gladwell, especially the part about the “10,000 hours” rule. The gist is if you can determine in your life where you’ve spent 10,000 hours doing something, then you will feel the most comfortable talking about it and becoming an expert.

“The more experience you have, the more comfortable you will feel and the more people will take you seriously,” Feldman says. Getting taken seriously can be as simple as starting to do radio interviews to get your messaging perfected and then moving onto TV.

Feldman points out, “A platform isn’t built in a day but if you prepare for it with media training and practice, you will eventually break through and make an impact. Making an impact, whether getting your voice heard on local media, involves consistency.”

Never Stop Selling

When it comes to your messaging, “Never stop selling,” says Hayzlett. The key to being effective, he indicates, involves messaging in such a way that doesn’t feel intrusive to the recipient.

Some people may feel tempted to “stand there with a megaphone and just shout it out.” Considering that can get annoying very quickly, he says there are some particular moments when that’s okay.

For example, says Hayzlett, sending an email to everyone you know to say you just landed a television show and you’d love for them to tune in—that’s big news.

“But the fact that I’m speaking at a small group or I just won a small award probably isn’t,” he notes. “You only want to go to the well so many times.” That said, you should develop a rhythm to disseminating information on a regular basis. Leverage social media by reaching people who follow you; they are the most receptive to your updates.

Dan Schawbel, author of Promote Yourself: The New Rules for Career Success, suggests connecting with fellow journalists via Twitter. “Help them find sources, answer their questions and retweet them. This way, they will take notice of you,” he says.

Studying media shouldn’t be a stretch for media folks since we speak the same language. As you reach out to journalists with your bio and pitch, Schawbel recommends reading every article they’ve written within your beat. His advice? “Make a spreadsheet listing the publication, journalist name and email address.”

As you create your media list, Schawbel suggests, write down your professional story that links every work experience you’ve had with your vision for your future. “Without a story that makes sense, is meaningful to you and captures your vision, the media won’t acknowledge you,” he says.

Build a Local Following

Getting acknowledged by the media can be as simple as beginning where you are. Feldman underscores the importance of becoming a rock star in your own backyard.

“Reach out to local media first,” she advises. This means starting with your local newspaper, radio station, blogs and TV stations. After building a local following, leverage that coverage to potentially secure a national booking.

“Third, Feldman says, connect with reporters via social media and attend events where you can actually meet key contacts in person. No matter how effective it is to engage via social media, there is nothing that quite compares to a real life (IRL) connection.”

And keep in mind persistence pays off. Whether you’re looking to plug a recent book you wrote or keep your name out there as an expert, work your connections.

For example, Feldman is launching a new wearable tech health-and-wellness device for dogs called Voyce. After reaching out to media contacts via Twitter and Facebook, she and her group tried different ways to connect with them.

She recalls, “Two of my pitches took several times to finally land a story, but they say, ‘Good things come to those who wait’—we landed placements in the Wall Street Journal and CNN among many others.”

Choose the Right Partners

Another strategy involves cross-promotion. Build your platform with another individual or brand that may have a large following. Feldman explains, “I am a firm believer that synergies with the right partners can absolutely generate additional exposure. I always like to be in my rowboat with more than one person.”

Think outside the box and team up with a brand, retailer or expert who supplements your area of expertise.

If you just wrote a book about the benefits of Pilates and the barre method, she suggests teaming up with Lululemon to do a book signing at their store or build a 10-city tour to appear in their stores and then promote yourself to local media.

This begins with concocting a well-crafted strategy to share why you would add value to them via media exposure.

Feldman says even a few months prior to landing a book deal you should research potential partners: “It’s never too early to plan, and brands typically do their planning 12 to 18 months in advance.”

Be Genuine

Above all, success in becoming your own publicist involves strategy, consistency, persistence and of course, authenticity.

Hayzlett says, “The biggest thing that most speakers, authors and thought leaders have difficulty with is they have to be genuine and relevant.”

While many people want the brass ring, he says, they don’t always want to do the hard steps it takes to get there: “The best way to get it is to be it.” Even as you create a sizzle reel to demonstrate your speaking abilities, he adds, “Show me more of your content than your flash. Show me more meat than sizzle. Spend more time picking up the steak than deciding how to cook it.”

Looking for more ways to up your PR game? Check out Mediabistro’s course: Fundamentals of Public Relations.

Topics:

Climb the Ladder, Networking

Skills & Expertise

Marketing Storytelling Skills: Why Narratives Make You a Better Business Leader

It’s a common phrase describing a popular method of brand building. Here’s how to do it better

By Laura Montgomery

3 min read • Originally published March 28, 2016 / Updated March 19, 2026

By Laura Montgomery

3 min read • Originally published March 28, 2016 / Updated March 19, 2026

Why Storytelling Skills Make You a Better Business Leader published on The Executive Education Navigator blog.

“Storytelling” has become a ubiquitous buzzword in the business world as the marketers’ pursuit to weave the most creative and compelling narratives about their brands and products races on.

Let’s take a look at why this has become such a hot topic, and what you can do to become a stronger storyteller yourself.

Why Businesses Need Powerful Narratives

Storytelling is being increasingly utilized for building customer loyalty externally, as well as for motivating internal stakeholders and developing stronger connections among employees internally.

Why are stories the chosen tool to achieve these aims? Because they serve as emotional “handholds” for communicating the complex information that we seek, explains storytelling expert Frank Rose.

“You can memorize data, but to have it change opinion and behavior you need story,” says Rose, who co-teaches an executive-education course at Columbia Business School on storytelling strategy.

The Art of Storytelling in a Digital World

Here’s a quick, well, story to illustrate Rose’s view on storytelling strategy: Back in 2006, as a journalist for Wired magazine, Rose interviewed director James Cameron, who was filming Avatar at the time.

“He told me the best way to think about the story was as a fractal experience,” recalls Rose. “The casual viewer could enjoy the movie on a basic level. But for the more intense fan, the meaning could unfold in unlimited powers of ten, all within a unified experience.”

Rose likens Cameron’s approach to cinematic storytelling to contemporary media—a fragmented yet unified universe where we can tell stories that allow greater or lesser degrees of involvement.

Key Ingredients of Successful Storytelling

You can find stories almost anywhere you look in a company—an earnings chart, a corporate timeline, a client testimonial. The real challenge is to develop stories that are true, interesting and engaging to your unique audience.

Whether the end destination is on billboards or in boardrooms, Rose highlights four key qualities of compelling stories:

1. Originality

Do an honest inventory to discover what is unique about your brand or company—its founding, evolution and vision for changing the world.

2. Authenticity

What does your company stand for? How do leaders and employees feel about the business? Try to focus on real people and genuine emotions.

3. Empathy

Even when a story is about your company or product, the customer should always be the focal point. How does who and what you are translate into customer benefits?

4. Consistency

Finally, it’s crucial to define a singular voice and tone you will use to tell your story across various media and platforms. The only question that remains is: What stories could you be telling?

Laura Montgomery is an independent higher-education consultant.

The Executive Education Navigator is a first-of-its-kind search and discovery tool launched by The Economist Careers Network to aid executives’ search for their ideal executive education programs. Its blog includes posts on career hacks and industry trends.

Browse executive courses on storytelling. For a quick introduction to brand storytelling, consider a Mediabistro online course on brand writing.

Topics:

Climb the Ladder, Skills & Expertise

Job Search

How Soon Is Too Soon to Look for a New Job?

Career experts weigh in on the minimum time to stay at a job, when it's okay to leave early, and how to explain short stints to future employers.

By John Lombard

6 min read • Originally published April 11, 2016 / Updated March 19, 2026

By John Lombard

6 min read • Originally published April 11, 2016 / Updated March 19, 2026

Last updated: January 2026

The New Job Dilemma

You’ve just started a new job. A few weeks or months in, you realize it’s not the right fit. Now you’re wondering: is it too soon to start looking for something else?

The old rule said you should stay at a job for at least a year before starting your job search. But younger workers are switching jobs more frequently than previous generations, often chasing better pay or new opportunities.

And even though leaving early might hurt your reputation, studies show that 86 percent of workers say the risk of damaging their resume wouldn’t outweigh their decision to move on if the job isn’t right.

But is there a way to find the right job for you while maintaining a strong professional reputation? We asked Alex Twersky, career expert and Mediabistro’s own resume and cover letter writer, for guidance. His short answer: it depends.

Consider Your Reputation

Will looking for a new job brand you as a job hopper? And is that necessarily bad?

The answer is nuanced. While job hopping can boost your career if done strategically, Twersky warns that someone who routinely spends less than a year at jobs “might be seen as lacking follow-through and hence might be a risky investment for an employer.”

“If you bail on jobs soon after you’ve only just begun being productive in the role,” says Twersky, “you may be perceived as someone who eats all the frosting off the cake”—the formal training, the ramp-up period, all the time and money the company invested in you—”leaving your employer with a big cleanup job.”

How Long Should You Stay?

“The rule of thumb for minimum tenure before bailing on a job is one year,” Twersky advises.

However, if you’re truly miserable, “you may want to mount a search sooner than your one-year anniversary.”

If you can stick it out, two years is even better. “Spending two years at your job before making a switch shows a base level of commitment and seeing things through,” Twersky says.

The general guidelines:

Less than 6 months: Raises significant red flags—only leave this early for serious reasons
6-12 months: Acceptable if you have a good explanation
1 year: The minimum recommended tenure
2+ years: Shows commitment and is ideal before transitioning

When It’s Okay to Leave Early

While the one-year rule is a useful guideline, there are legitimate reasons to leave sooner:

The job was misrepresented. The role, responsibilities, or company culture are significantly different from what was described during the hiring process.
Toxic work environment. Harassment, unethical behavior, or a hostile workplace justify leaving quickly.
Company instability. Layoffs, financial trouble, or leadership chaos signal it’s time to go.
Health concerns. If the job is affecting your mental or physical health, prioritize your well-being.
Major life changes. Relocation, family needs, or other personal circumstances may require a move.
An exceptional opportunity. Sometimes, a once-in-a-career opportunity comes along that you can’t pass up.

One short stint on your resume usually isn’t a dealbreaker. A pattern of short stints is what raises concerns.

How to Explain a Short Tenure

When interviewing for future jobs, expect to be asked why you left your last position. Twersky recommends having a “compelling and non-confrontational reason for leaving,” such as:

Following your interests or passions
Changing sector or industry focus
Relocating for personal reasons
Seeking growth opportunities not available at the current company
Discovering the role wasn’t what was initially described

Complete Your Projects First

If you’re working on a defined project, it’s often better to stay and complete it. This allows you to clearly define your contributions and measurable outcomes.

“Then, when asked why you are leaving your previous role,” says Twersky, “you can point to the arc of completion and positive outcome associated with your main charge, and proudly say you’re ready for the next challenge.”

What Not to Say

Avoid badmouthing your employer, complaining about coworkers, or being vague. Even if the situation was genuinely difficult, frame your departure positively and focus on what you’re looking for rather than what you’re running from.

Key Takeaways

One year minimum is the general rule of thumb before leaving a job
Two years is even better and shows commitment
Exceptions exist for toxic environments, misrepresented roles, and major life changes
One short stint won’t ruin your resume; a pattern will
Have a clear explanation ready for interviews that’s positive and non-confrontational
Complete projects when possible so you can point to concrete accomplishments

Ready to look for your next job? Check out our job board.

FAQs About Job Search Timing

How soon is too soon to look for a new job?

The general rule is to stay at least one year before looking for a new job. However, if the role was misrepresented, the environment is toxic, or you’re genuinely miserable, it may be appropriate to start searching sooner. One short tenure on your resume is usually acceptable if you have a good explanation.

Is 6 months too soon to leave a job?

Six months is on the shorter side and may raise questions, but it’s not automatically disqualifying. If you have a legitimate reason—such as the job being significantly different from what was described or a toxic work environment—most employers will understand. Be prepared to explain it clearly in interviews.

Will leaving a job early hurt my resume?

One short stint usually won’t hurt you, especially if you have a reasonable explanation. What raises red flags is a pattern of short tenures. If you have multiple jobs lasting less than a year, employers may question your commitment and whether you’ll stick around if hired.

How do I explain leaving a job after a short time?

Have a concise, non-confrontational explanation ready. Focus on positive reasons, such as following your interests, seeking growth opportunities, or discovering that the role wasn’t the right fit. Avoid badmouthing your employer. If possible, highlight accomplishments you achieved despite your short tenure.

Is it okay to job hop in your 20s?

Job hopping is more widely accepted among younger workers who are still figuring out their career paths. Employers often expect some exploration in your 20s. However, even then, staying at least a year at most positions is advisable. Strategic job changes with clear reasons are different from erratic jumping.

Should I stay at a job I hate for the resume?

Not necessarily. Your mental health and well-being matter. However, if you can tolerate the job and there’s a project you can complete or a milestone you can reach, it may be worth staying a bit longer. Weigh the cost of staying against the benefit of a cleaner resume, and make the decision that’s right for your situation.

How long should you stay at your first job out of college?

One to two years is a good target for your first job. This gives you time to learn, contribute meaningfully, and build foundational skills. Leaving your first role too quickly can make it harder to demonstrate your commitment and follow-through.

When is the best time of year to look for a new job?

January and February are traditionally strong months for job searching, as companies have new budgets and hiring plans. September and October are also active after the summer slowdowns. Avoid major holiday periods (late November through December) when hiring often pauses.

Topics:

Get Hired, Job Search