Design is not merely a profession; it’s a language that speaks to our senses, a force that shapes the world around us. In Future Talks by RTF, we embark on an exciting journey to unravel the captivating narratives of design through enlightening conversations with the pioneers who bring these stories to life.
Today we speak to Rachel Gallaher who is a freelance writer and editor hailing from the vibrant city of Seattle. With a wealth of experience in her arsenal, Rachel’s work has been featured in prestigious publications such as GRAY, where she currently serves as the deputy editor, as well as in Dwell, Architectural Digest, The Seattle Times, Robb Report, and Azure, among others. Her passion for design and her keen editorial eye make her the perfect guide to navigate the intricate world of design pioneers.
Join us as we delve into the minds of the visionaries, the dreamers, and the creators, and as we uncover the essence of what truly makes design a transformative force in our world. Future Talks by RTF promises to be an enlightening and inspirational journey into the heart of design, where you’ll discover the stories that shape our future.
RTF: Hi Rachel, we are so glad to have you as a guest on Future Talks. Thanks for joining us. What has your journey from being a freelance writer to editor been like?
Rachel: It has been a lesson in hard work. When I graduated from university in 2009, the economy was in a terrible state, people were losing their jobs left and right, and the media industry appeared to be in freefall. I was naive when it came to thinking about a career. I didn’t study journalism in school—I got my first magazine internship to fill my mornings while I nannied in the afternoons. All I knew was that I wanted to write. I’ve known I wanted to be a writer since I was six years old. After my internship wrapped, I started reaching out to local publications to try to get freelance work. I had to be tenacious. There were a lot of “no” and “not right now” responses. Eventually, the editor-in-chief at Seattle’s now-defunct City Arts magazine met with me and gave me a chance to cover local performing arts. I had little experience, but I had insane amounts of drive. That kickstarted my freelance career.
Meanwhile, the magazine I interned at shuttered, and a group of us from that publication got together and decided to launch our own—that was GRAY magazine, which is now almost 13 years old. I started freelancing and fact-checking and slowly worked my way up the masthead. I’ve been with the magazine through its evolution (from regionally focused to international) and am still heavily involved today. During that time, I was freelancing on the side (mainly about the local arts scene, which I now cover regularly for two publications). I have only once in my career turned down a story assignment, and it was due to workload and a slew of coinciding deadlines. Last September, I stepped away from my staff job at GRAY (but as I mentioned, I am still heavily involved and serving as the deputy editor) to pursue freelancing again, which is a total hustle but incredibly rewarding for the range of stories I write and the people I meet.
RTF: Can you draw a contrast between your understanding of a pitch when you worked as a writer and now, as an editor when you receive a plethora of them?
Rachel: Where do I even start with this one? As I mentioned, I didn’t study journalism in school, so when I started out, I had no idea how to send a proper pitch. I mean, I didn’t even fully understand the idea of a “hook.” I didn’t know about asking for editorial calendars or honing things to fit the preferred subject matter and voice of a specific publication. I took more of a “throw spaghetti against a wall and see if it sticks” approach. Luckily, I had some great editors and mentors who were willing to take the time to work with me on honing this skill. But even now, it can be hard to land a pitch, and not because it’s inadequate. Budgets are tight, editors are used to working with specific writers, or a magazine has recently covered something similar (hint: always look at the past few issues before pitching). I’ve learned that making personal relationships with editors can go a long way to getting your pitches to the top of the inbox.
A good pitch brings a fresh angle to a topic, is well-researched, and presents all story elements: who you plan to interview, visual examples, etc. If you can tie it into larger cultural or social themes, even better. I can always tell writers who are tapped into what’s happening and those who are just hitting copy-paste and sending the same pitch to 25 publications.
RTF: How do advertisers influence the content of the magazines? What does it take for publishers to maintain editorial independence and integrity while working with advertisers and sponsors?
Rachel: At GRAY, it’s very church-and-state. We don’t, and have never, engaged in what’s known as the pay-to-play model—just because you are an advertiser doesn’t mean you are guaranteed editorial coverage. That being said, we work with our advertisers to produce creative, editorial-forward ad content (properly labeled, of course), and we often look to our advertisers when pulling content for the magazine, for example, if a furniture company advertises and we’re doing a roundup of couches, we might ask to see their new options and put them in the batch for consideration, but we don’t guarantee inclusion. It’s about creating relationships but being clear about boundaries and how they operate.
RTF: From countless pitches from writers and designers, what strikes you to go ahead and curate a story?
Rachel: It depends, but I am often drawn to stories that are multi-layered. I love to escape into a pretty picture as much as anyone else, but when it comes to dedicating space to a piece, I am drawn to colorful characters, people taking risks, problem solvers, and organizations and individuals using design for social good. And, like I mentioned before, if there is a tie-in with current social, political, or economic happenings—especially in an unexpected way—that often pushes a story above the pile.
RTF: How influential do you find a media kit? And what are your ideas on making it more comprehensive?
Rachel: In some cases, a media kit is very helpful. For example, after attending a big design fair or trade show, as I prepare my coverage, I like having a link with information and photos I can draw from without going back and forth with a PR contact at 15 or 20 different companies. I often keep those kits in a folder for at least six months to have a cache I can refer back to when lining up content. Press releases also come in handy when we have pitch meetings for our next issue—to have a set of photos to share is invaluable, as we never commit to a story without seeing images first. To have everything in one place saves everyone time.
RTF: What key ideas would you give to writers who wish to get their content published in top publications?
Rachel: The biggest tip I give other writers is to familiarize yourself with the publications you want to write for. Get a sense of their tone, style, and the types of stories they print. It sounds simple, but there are often nuances that take some deep reading to understand. Also, don’t get discouraged by rejection—easier said than done, I know. But you have to have a thick skin to be in this industry. Whether it’s pitches getting turned down or a story being heavily edited, sometimes it can feel like, “Why am I even trying?” But eventually, you get that assignment or write that story that feels like such a huge victory, and you remember why you pursued writing in the first place. Always chase that feeling.
RTF: Being a winner of four highly prestigious awards in the realm of journalism is something to be proud of. What has your inspiration and approach been throughout your journey?
Rachel: Thank you, I am very proud of everything I’ve accomplished. One of the biggest constants throughout my career has been creating relationships. Some would call it networking, but that feels so transactional. I am a people person. I genuinely love learning about other people’s stories—it’s why I do this. I never say no to things—events, coffee invitations, trips, meetings. I am not one to stand in a corner at a party. I am always talking to people and asking questions. Once I started to build my network in a meaningful way—working to retain relationships, keeping in touch, scheduling lunches and coffees—I noticed that my contacts began introducing me to other interesting people they knew, and that just compounded. I’m lucky that I’ve had the time and energy to do that, and it’s been invaluable. People know when you approach them with genuine curiosity and aren’t just trying to “get something” from them. Attend events, gallery openings, museum parties—make it a point to talk to at least one new person everywhere you go. It won’t always lead to a big breaking story, but I can’t even tell you the number of times I’ve gotten an email months later saying, “Hey, remember me? We met at such-a-such place. I have an idea for you…” and that’s turned into a successful story or pitch.
RTF: How has ‘redefining’ come into play for magazines when it comes to ideas and approaches, looking at a constant shift in the media landscape and people’s perception towards it?
Rachel: This is an interesting question and one that we grapple with daily. The media landscape has shifted dramatically with the rise of the internet and social media, changing how we consume information. Content creators are everywhere, meaning that traditional publications are not the “gatekeepers” of information in the way they used to be. That’s not a bad thing, but it requires us to rethink the role of print media. When information is so readily available, what makes people want to sit down with a magazine and read? I think a lot of it comes down to good storytelling, which humans have valued for millennia. Why does the average person read? To educate themselves? For entertainment? As part of their job? To escape their daily lives? There’s overlap in all of this. Good storytelling is not a “redefinition,” but with so many publications out there, you do have to think of how you can get someone to dedicate time out of their day to yours. I admit I read my news digitally, but to sit down with a magazine is a very intentional act that forces me to focus on that alone, which tends to feel like a luxury.
RTF: How did the trends and landscape change in social media influence the stance of magazines towards their content? How did Gary magazine adapt to the change?
Rachel: Other than expanding our subject matter from regional to international (a move we made as the PNW started to find more footing on the global stage), GRAY hasn’t changed its approach to content since our launch. We stick to finding relevant, engaging stories that highlight companies, brands, individuals, and organizations doing interesting things with design. Everything we cover is done so through the lens of how design impacts, informs, or influences it. Since so many things turn up on social media first, we sometimes have to get creative with our coverage or spend more time digging to find fresh, uncovered content.
There have been times when we’ve done a pivot or added a new content stream—say, during the pandemic when we launched our digital design Expo and series of Instagram Live talks, or our In the Design Lounge video series—but GRAY magazine, in all its printed glory, remains at the heart of what we do.
RTF: What professional landmarks are still in your sight to achieve? And how do you refuel your creativity to do so?
Rachel: I majored in creative writing spent a lot of time in my teens and 20s working on short fiction stories That gradually fell away once I started writing professionally—not because I didn’t love to do it, but it’s hard to write all day for work, then come home and write some more. Someday though, I want to write a novel. I have a few ideas kicking around, I just have to make the time!
When I do have extra time, I like to get outside. Nothing counters sitting as a desk all day like going on a run along Lake Washington, skiing in the winter, or taking a picnic to one of Seattle’s many parks with friends. Because my 9-5 day is so solitary (I live alone and work from home), I like to meet up with friends after work and catch the latest show at one of our many local theatres or galleries, then hit up a bar for craft cocktail night cap.
