When I started teaching, I would get miffed if a student asked me to write him or her a recommendation for law school - I'd feel like that's not what we were doing in the course. But now I see that person as someone who might be gainfully employed. I bring in a lot of people to speak to my classes, and I've gotten to the point where I've expanded the type of guests I invite to include people both inside and outside of the traditional publishing world.

I'd say the vast majority of my interview experiences have been pleasant, better than pleasant. But sometimes there will be people who will size you up. There can be that "rock star" thing where they think it's cool to pull back.

People looked to Kurt Cobain because his songs captured what they felt before they knew they felt it.

In Othello, Othello kills Desdemona, but no one reads that play as a model for their own behavior. In Lou Reed's case, you're listening to a song, and in my case you're reading about a life. Like Lou, I trust my audience to make their own moral determinations.

When I broke into music journalism it wasn't easy but there was more of an established path. I wanted and was able to have a grown-up person's job with a real salary writing for a fairly sizable audience about stuff I cared about. When you're starting out, you try to get as much experience as you can so people will see your work, and maybe start giving you the assignments you want, and paying you (hopefully both). And if you're lucky you land someplace where you can stay for a while. But today that's a trickier trajectory to envision.

It can be nerve wracking if you walk into the interview and you're not sure what to expect.

If a musician cares about what he or she is doing, and you show up and care, you can go some place. That will never change. There are a number of ways to approach this, and my favorite is the way we're doing it now - just talking.