New York
Why Does This Building by the Subway Need 193 Parking Spots? (Yes, Exactly 193.)
A rendering of the new apartment building at 975 Nostrand Ave. in Brooklyn. Underground parking spaces not shown.
Lemons Bucket
The apartment building under construction at 975 Nostrand Avenue in Brooklyn is the kind of project that city officials and economists say New York needs to solve the city’s severe housing shortage.
It will have 328 new homes at rents targeting young professionals, from studios up to three-bedrooms, with a grocery store on the ground floor.
But the ability to construct these homes, at this location, turns on a peculiar problem: How do you also find a place to park 193 cars on this lot?
The site is about one block from the subway. To fit ample parking here, the builders had to excavate 14 feet underground. And some of this cellar space is needed for utilities and storage. The remaining space is irregular. These are the structural columns supporting the apartments above. And here’s where you fit the cars. Actually, that’s only 146 of them. To accommodate the remaining cars, each spot here holds a two-car mechanical stacker. (This is the actual diagram submitted to the New York Department of Buildings for review.)
This Brooklyn building is subject to a powerful but obscure force operating in communities all over the country: the parking minimum. Every one of its 193 parking spaces is prescribed by the city’s zoning code, in dizzying detail.
The project must provide, at minimum, half a parking spot for each housing unit; one parking spot for every 400 square feet of retail and art gallery inside; and one spot for every 300 square feet of space in part of the planned grocery store (the other part of the grocery store is exempt from parking, and we’re sorry but only a land use lawyer can explain this).
New York is now proposing to radically simplify requirements like this by ending parking mandates on all new housing citywide. The move could make it cheaper and faster to construct new homes amid a housing affordability crisis, and it would make New York the latest American city to toss out decades-old parking rules. But as a movement to end parking minimums gains traction across the country, what happens in New York will be revealing: In the least car-dependent big city in America, the instinct to accommodate cars may still prove stronger than fears about the shortage of homes.
“These rules were written at a time when cars defined everything,” said Dan Garodnick, the head of New York’s Planning Commission.
It was a moment when cities were first racing to adapt to cars and compete with suburbs full of plentiful parking. “We are in a different era today,” he said.
That assessment will be put to the test in the coming weeks, as the City Council is set to vote on the change as part of a broader package of housing measures.
Mr. Garodnick is quick to clarify that the administration is not proposing to end parking in residential buildings — just the required minimums. Developers will still build parking, he reasons, where there’s demand for it (and in fact, today some build more than the minimum). But they’ll also have the option to build none.
Those opposed to the change are skeptical of its benefits: “I don’t see where less parking means there’s greater affordability,” said Fred Baptiste, the chair of Community Board 9, where 975 Nostrand sits. “It just means there’s less parking.”
Six Parking Spots Per Bowling Lane
Cities and towns nationwide have had parking minimums sitting unquestioned in their zoning codes for half a century. But in recent years, dozens of cities have removed them. Buffalo was among the first in 2017. Austin, Texas, last year became the largest U.S. city to do so.
As housing has grown more expensive across the country, cities have increasingly realized that parking can make the problem worse, raising the cost and complexity of development, even discouraging the construction of homes.
Construction costs run from $10,000 per parking space in a surface lot to $70,000 per space in an underground garage. That gets baked into what developers must recoup from tenants and buyers, whether they own a car or not. The rules drive up the per-unit cost to build affordable housing (in New York, affordable units near transit are exempt from parking minimums, but the rules still apply elsewhere). And they often require more parking than people actually use.
The mandates began in the 1950s and ’60s as mass car ownership expanded beyond the capacity of on-street parking. Minimums in New York were introduced in 1950 for new residential buildings. The city’s 1961 zoning code (the one still in place today) raised the requirements and added them for offices, retail and other building types. In New York and elsewhere, the rules typically take the form of ratios that have been copied from one city to another, handed from one generation of engineers to the next without much study or skepticism.
A Sample of Minimum Parking Rules 0.5 parking spots per unit plus 1 parking spot per employee
Senior Housing in Vallejo, Calif.
2 parking spots per dwelling unit
Manufactured Home in Knoxville, Tenn.
1 parking spot per 2 beds Monastery/Convent in Savannah, Ga.
1.25 parking spots per dwelling unit
Efficiency Apartment in Fargo, N.D.
1 parking spot per 4 rooms
Rooming House in New Orleans 1 parking spot per 2 beds
Fraternity/Sorority in Baltimore
2 parking spots per dwelling unit plus garage
Single-Family Home in Oklahoma City
1 parking spot per million gallons of capacity Sewage Treatment Plant in Dallas
1 parking spot per 100 sq. ft.
Haunted House in Gilbert, Ariz.
1 parking spot per 8 occupants plus 1 spot per 2 employees
Cemetery in Carver, Mass. 1 parking spot per 10 migrants at max capacity
Migrant Labor Camp in Queen Anne’s County, Md.
10 parking spots per 1 mile of trail
Nature/Bike Trail in Jefferson Hills, Pa.
1 parking spot per 250 sq. ft. of office/retail area Butterfly/Moth Breeding in SeaTac, Wash.
6 parking spots per lane
Bowling Center in Folsom, Calif.
1 parking spot per 50 sq. ft. of floor area
Night Club in Port Angeles, Wash. 8 parking spots per green
1 parking spot per 10 children plus 1 per employee
Child Care Center in Charlotte, N.C.
1.2 parking spots per bed 3 parking spots per court
Tennis Club in Rochester, N.Y.
1 parking spot per 100 sq. ft. of sanctuary seating area
1 parking spot per 60 sq. ft. of batting area
1 parking spot per 50 sq. ft. water surface plus 1 spot per 2 employees
Swimming Pool in Allentown, Pa.
“People just assume these numbers are right because they’re in the zoning code,” said Tony Jordan, who runs the Parking Reform Network, which advocates ending minimums. “No, they’re just made up.”
Beyond increasing construction costs, the rules have squeezed out of existence many common prewar urban housing forms, like four-unit apartment buildings on lots too small for parking. Mandates have meanwhile produced their own specific kinds of places: stores surrounded by surface lots, strip malls wrapped around parking, apartment complexes that have no ground-floor retail because the ground floor is full of cars.
And because the rules apply broadly, they can require parking in subsidized housing for low-income households least likely to own a car. They can force builders to construct 350 square feet of garage space for a 400-square-foot studio.
Given that cities have only recently begun to change these rules, there’s limited evidence of what happens after they’re gone. In the first years after Buffalo ended parking minimums, about half of new developments built fewer parking spaces than they were previously required to, supporting the idea that the standards are too high for some properties, too low for others.
Proponents also hope that by ditching parking mandates, cities communicate another message: “If you require a place to park a car, you’re automatically saying a car is welcome,” said Felicity Maxwell, a planning commissioner in Austin who voted to end minimums there last year. And many of the prewar buildings and neighborhoods cherished today are places that have long thrived without welcoming cars.
Compared with Austin and Buffalo, New York is proposing a half-measure: to end mandates only for housing (at 975 Nostrand, for example, the retail space would still require some parking). Mr. Garodnick demurred on whether ending all minimums would be a logical future step for the city.
An Expensive Hole in the Ground
New York is also a particularly tough place to create parking. Land is so scarce and valuable that it seldom makes sense to use it just to park cars. 975 Nostrand was originally a single-story grocery store with a large parking lot. Now it will become home to 500 to 600 people, with a grocery store on the ground floor.
But making the best use of that limited space means developers frequently turn to the hardest possible parking solution: putting it underground.
“When you go below grade in New York City, you are talking about the most expensive and the most risky part of a project,” said Sam Charney, principal of the developer Charney Companies. His worst construction horror story involved a mixed-use building that required two levels of underground parking in a corner of bustling Williamsburg in Brooklyn. He thought the parking actually necessary was none.
Before Charney Companies built The Dime in Williamsburg, it first dug this 30-foot-deep hole (while propping up the neighboring properties) for a two-story underground garage. Charney Companies LLC
Excavation is costly and onerous. Neighboring buildings must be underpinned. Buried oil tanks and boulders get in the way. Below the water table, everything must be waterproofed. And all of this adds months to construction, during which time developers are carrying large loans.
Parking stackers help save space by lifting cars up so others can park underneath. But then garages require parking attendants to operate them — and that’s another cost someone has to pay.
All of this is further complicated by the fact that the exact quantity of parking required depends on how the land at a given site is zoned.
Here are just the few blocks around 975 Nostrand:
Buildings across the street from each other are often zoned differently.
And each zone has its own minimum parking ratios for housing.
Source: New York City Zoning & Land Use Map
Certain zones also exempt parking on the first five or 15 housing units, incentivizing builders to stay below that cutoff — or to carve lots up into several smaller buildings with fewer total housing units.
“You really don’t want to build a bigger building than you can provide parking for,” said David West, an architect.
These trade-offs for developers don’t garner a lot of sympathy with New Yorkers who have a more prosaic concern: where to park after a long work day or when there’s a hungry child in the back seat. The community board that encompasses the Nostrand development opposes getting rid of the minimums, as do politicians representing parts of the city that don’t have good transit access.
“For Staten Islanders, it’s almost impossible to not have at least one car per household,” said Joseph Borelli, who represents southern Staten Island as minority leader of the City Council.
Source: New York Times survey; New York City Zoning Application Portal
The City Planning Commission expects that the greatest change to come from ending parking mandates would be in the “inner outer” boroughs — not in the lowest-density neighborhoods that have opposed it the most, but in places like Nostrand Avenue in Crown Heights. That’s where the gap is widest today between the quantity of parking required and the demand for it around public transit. In the densest parts of the city — much of Manhattan, and Long Island City in Queens — parking minimums are already waived (Manhattan, in fact, has had parking maximums since 1982, in a bid to reduce car travel and improve air quality).
Some suggest the city should more narrowly tailor its proposal rather than sweep away requirements citywide. But that would be an extension of what New York has done for years — carving out piecemeal exemptions for certain geographies, lot sizes, affordability levels and building amenities, until it has arrived at an intricate web of parking rules.
To proponents of ending minimums, the citywide simplicity is part of the point: The requirements aren’t just arbitrary near the subway; they are arbitrary everywhere because a prescribed ratio can never be just right for every lot. And even on Staten Island, lifting the minimums might allow someone to build an accessory dwelling unit — without extra parking — in the backyard. That would serve the city’s housing goals too.
At 975 Nostrand, where the developer Hudson Companies is about a year away from completing the building, the managing director of development, Marlee Busching-Truscott, struggled to estimate exactly how much parking would have been built if that number weren’t dictated by a zoning table. This is one of the other distortions of parking mandates. Developers typically try to study the market for nearly every facet of a project — the mix of apartment sizes, the targeted rents, the building amenities, the outdoor spaces, the kitchen finishes. But they don’t do that basic exercise for something as costly and sizable as a parking garage, because they have little choice in the matter.
Though Ms. Busching-Truscott couldn’t say exactly how the building would have taken shape without parking minimums, “I don’t think we would have gotten to 193 spaces that would have required having a fully excavated cellar and a chaotic layout.”
That result speaks to the building’s essential paradox: “This is transit-oriented development,” she said, “that you’re still building around the car.”
New York
How a Museum Security Guard and Artist Lives on $51,000 in Parkchester
How can people possibly afford to live in one of the most expensive cities on the planet? It’s a question New Yorkers hear a lot, often delivered with a mix of awe, pity and confusion.
We surveyed hundreds of New Yorkers about how they spend, splurge and save. We found that many people — rich, poor or somewhere in between — live life as a series of small calculations that add up to one big question: What makes living in New York worth it?
Ryan Compton knows a thing or two about gigs. To make it in New York, he has worked as a retail associate inside the Museum of Modern Art’s gift store, a cashier for a downtown taqueria and a paint mixer for Takashi Murakami. He has experienced the paradox of a city both known for its artists and for pricing artists out.
Financial constraints forced Mr. Compton, who is from South Jersey, to move away from New York twice over the course of two decades. He has lived in Baltimore, Chicago and Philadelphia, but remains convinced the resources and people inside New York are unparalleled.
“You never know who you’re going to run into,” he said. “Everyone’s curious about each other.”
Since moving back in 2022, he has whittled down his source of income to a single gig as a security guard at the Metropolitan Museum of Art, where he made $51,000 before taxes last year. It’s his second time at the museum. He first worked there part-time in 2011 before leaving in 2015 to earn his master’s degree in sculpture from the School of the Art Institute of Chicago.
“I know I couldn’t afford graduate school and the cost of living in New York at the same time,” he said.
A third try at New York life has forced Mr. Compton, now 46, to confront the sustainability behind a career as both an interdisciplinary artist and a security guard — even inside one of the most famous museums in the world.
Love at First Sight (With New York)
As an undergraduate student at the Maryland Institute College of Art, Mr. Compton looked forward to spending weekends at his friend’s apartment gallery in the East Village in Manhattan.
A combination of showing face and knowing the right person led to his side project at the time — fashioning 3-d printed stuffed animals with skull faces — which were featured in an issue of Vogue Japan. He even sold a few inside a handmade craft store in Tokyo’s Ginza district for about $1,000.
“I was interested in the contrast between fuzzy-shaped animals and skulls,” he said, later adding, “You know, stuff when you’re a 20-something-year-old being kind of edgy.”
The early moment of success propelled Mr. Compton to chase after opportunities to showcase his work. While supporting himself financially through retail and service jobs, he helped write the artist Roman Ondak’s interactive performance piece at MoMA, “Measuring the Universe;” and worked as a collaborator for “No Souls for Sale,” an experimental project temporarily at Dia Chelsea and later, the Tate Modern in London. Both went unpaid.
“The chance to work in modern art before I was 30 is unheard of,” Mr. Compton said. “It only happens in New York.”
A Slower Pace
Tens of thousands of people flock to the Metropolitan on weekends, and it’s Mr. Compton’s job — one he has found increasingly difficult — to make sure the art is untouched. He believes social media has altered the way visitors engage with the museum. Think more selfies and poses leaned against Hellenistic marble.
The one hour work commute from Parkchester in the East Bronx gives him time to prepare for a long day ahead. He splits a two-bedroom with a co-worker for $1,000 a month and pays $50 in utilities. Heat and water are included in his rent, and his roommate covers the cost of Wi-Fi. He pays $90 each month for his phone bill.
The slower pace of the residential neighborhood matches the stage of life he’s in now. In the last few years, Mr. Compton has slowed down as he has come to terms with the expenses behind his art.
He no longer has free access to fabrication laboratories pegged to his university, and he has opted for the more cost-friendly hobbies of zine-making and book binding. He is, however, eyeing a $1,000 3-d printer. For now, he has settled on $20 a month Photoshop subscription.
The largest constraint tempering Mr. Compton’s spending is his $100,000 student loan debt from graduate school. The window for his deferment period closed, and even with some money he inherited after his mother passed, he says he needs a miracle to finish paying off his loans. “I’m not sure what to do anymore,” he said.
Splurging on Plants and Experimental Harsh Noise Records
Mr. Compton may not have any children, but he is a proud “plant dad.”
His apartment houses $1,000 worth of plants sourced through Facebook groups, pop-ups and by following Brooklyn Horticulture online. He typically pays $30-$50 for medium to large sized plants, but he is constantly on the lookout for deals.
When he isn’t at home with his plants, Mr. Compton treks into Manhattan to do his weekly grocery shopping at Trader Joe’s. He prefers the prices there to local spots in the Bronx and estimates he spends $70 each week.
A cash guzzler of Mr. Compton’s food budget is the $20 a day — an additional $80 a week — he spends at the Metropolitan’s staff cafeteria for breakfast and lunch. When working 12 hour shifts, “I’m not gonna go home and make something to bring the next day,” he said.
On his days off, he seeks out affordable food deals. He frequents Vanessa’s Dumplings in Chinatown for their $8 dumpling special.
When in the mood to treat himself, Mr. Compton rides the train a few more stops out to Ridgewood, Queens and Bushwick, Brooklyn, to visit his favorite record stores like Fringe Records and Nexus Records. An experimental harsh noise aficionado, he spends no less than $100 each visit.
His biggest and most recent splurge was a 10-day trip to Tokyo, Kyoto and Osaka in Japan in February. He was able to cut his $900 round trip ticket to $700 with credit card points. Add in the cost of hotels, meals and souvenirs, he spent close to $5,000 total.
“I wanted to go because my artwork had been to Japan, but I haven’t been to Japan,” he said.
Looking Ahead
Mr. Compton wants to strike a balance between saving and enjoying the life he dreamed of in New York. To help pay off his loans, he considered applying to be an art handler for the Metropolitan, a job with a slight pay bump. But without his present benefit of overtime pay, he’s afraid he would be making less than he does currently.
Over the years, Mr. Compton has found community among other security guards at the Metropolitan, who, like him, are artists. He has also built inroads with notable names at the museum, one being Sheena Wagstaff, the former chairman of modern and contemporary art, who he said took the time to know Mr. Compton not only as a co-worker, but also as an individual, too.
Because of his connections, he feels like he has nowhere else to go. He considered a quieter lifestyle upstate in Westchester or the Catskills, but believes he will make less money outside of the city. And, of course, he would have to leave the place he’s called home for the majority of his adult years.
“I did four other cities, and they weren’t as good or great as I like New York,” he said. “I always end up here.”
We are talking to New Yorkers about how they spend, splurge and save.
New York
10-Minute Challenge: The Ceiling at Grand Central
You made it time. If you want to look a little longer, just scroll back up and press “Continue.”
Look up.
Before you commute home to suburbs like Tarrytown and Larchmont, or race toward the next stop on your tourist map, take a minute.
Look up to see the stars.
One hundred and twenty-five feet above you are 2,500 stars and six signs of the zodiac along the ecliptic, a line that represents the path of the sun across the sky:
The signs are joined by a few others: Orion, Pegasus, Triangulum and, in the center of it all, Musca Borealis (the Northern fly, or sometimes called Apis, the bee). The Milky Way streaks across the ceiling in the opposite direction. The whole thing is ringed by intricate plaster moldings along the clerestory windows. Fifty-nine of the stars twinkle.
Who says there isn’t magic in Midtown?
The original early 1900s plan for the ceiling was to build a massive skylight so commuters could look up at the actual stars:
But time and money were short, so the architects asked the artist Paul Helleu to design a version of the sky on the ceiling instead. Helleu took inspiration from star atlases from the 1600s. His main resource was the Uranometria from 1603, a lushly illustrated volume that was the first detailed cataloging of individual stars, their positions and brightness. See how similar the figures are. This is Aries:
Here’s Taurus, the bull:
A heart balloon — one of several — had floated up the day we took this photograph, nestling between Orion’s club and Taurus’s horn (maybe an earthly sign that this heavenly hunt might finally resolve).
Converting the flat drawings of a spherical sky re-projected onto a semi-cylindrical vaulted ceiling would have been no easy task. The design work was done by a famous scenic designer and muralist, James Monroe Hewlett, and was overseen by the Columbia astronomy professor Harold Jacoby, who in 1910 assured a panicked public that Halley’s comet would not hit Earth.
Dozens of painters got to work. The terminal opened at midnight on Feb. 2, 1913. The New York Central Railroad boasted “that many school children will go to the Grand Central Terminal to study this representation of the heavens.”
Two weeks later, a commuter from New Rochelle (and a hobby astronomer) looked up at the ceiling and realized that west was east and east was west and the sky was not, actually, in a proper arrangement. Only Orion was shown in the “correct” orientation. He wrote a “wrathful” letter to the station. As The New York Times reported in 1913, officials at Grand Central “did not deny the charge that things were a bit mixed, but held that it was a pretty good ceiling for all that.”
How this happened is still a matter of debate, given Professor Jacoby’s astronomical blessing.
Michael Allison, a former NASA planetary scientist at the Goddard Institute for Space Studies (and a former adjunct in the Columbia astronomy and astrophysics department), met me last month at the great clock under the ceiling to explain his theory.
“I’ve stared at the ceiling I don’t know how many hours,” he said. “I keep hoping I can discover one more thing.”
The liberties taken, Mr. Allison said, like re-sizing the constellations to fit the space and flipping Orion (in relation to the rest), were carefully done. Ultimately, a good marriage of art and science. He thinks Jacoby was a victim of big project bureaucracy, that it was all a mixup.
Jacoby probably expected the design he approved to be projected overhead, where the result would match the plans if you held them above you. The painters put them on the floor instead. Hence, the flip.
But this “heavenly view” — the stars as if they could be seen from above, looking down — may not be a bad view at all.
“There are just so many bad things happening in the world now that I think the sky offers a perspective that can lift us above that,” Mr. Allison said.
For Deirdre Newman, the great-granddaughter of the muralist Hewlett, who painted the ceiling, the imperfection “is what art is.”
Ms. Newman, it turns out, is also a painter of murals and ceilings. But these days, if she has to flip an image, she just hits a button on the projector.
“Anytime I make a mistake painting, I’m like, this proves that it’s art,” she said. “It is not perfection, and it shouldn’t be — it would be a sad thing if it was.”
The stories that we’ve given to the stars over millenniums, some of the most retold tales in history, are hardly orderly — stories of fate, violence, betrayal, revenge, sex and punishment. Cancer helps Hera in pinching a rival’s foot. Orion, son of Poseidon, is placed in the stars by Zeus, locked in an eternal hunt. The two fish of Pisces (Aphrodite and Eros) are linked together to escape the monster-of-all-monsters, Typhon.
Or the stories are totally different if you were Babylonian or Egyptian, Greek or Roman. Today, the stars mean something else again to a devoted user of the horoscope app Co-Star, seeking reassurance after a breakup. And to a commuter standing in Grand Central, looking up while waiting for the train, the stars might just be a momentary diversion, a decorative way to pass the time. Or more.
Take what you want. Take what you need.
***
By the 1940s, the ceiling had fallen into disrepair, so they painted a whole new one on four-foot-by-eight-foot asbestos sheets over the old one. This is the version that exists today. Eventually that second ceiling, too, grew dark with grime and had to be cleaned from 1996 to 1998. The difference was stark. As you were zooming in, you may have noticed a little dark square by Cancer. They deliberately left one bit of the uncleaned ceiling here:
The best time to take all of it in — the ceiling, and the majesty of the station — might just be coming this weekend. The setting sun will line up with Manhattan’s street grid and should (pending clouds) bathe the terminal in a beautiful golden glow Saturday at 8:19 p.m. and Sunday at 8:20 p.m. I plan to be on the east balcony looking west on Sunday for that moment.
See you there.
How we took the photograph
To generate a high-resolution panorama of the ceiling, The Times captured 232 close-up images. We then used software to stitch these photos into an equirectangular projection, to approximate the curve of the ceiling. We also developed custom computer vision software to ensure consistent color blending across varying lighting conditions. To optimize for display efficiency and clarity during navigation, the image was then re-projected into the shape of a cube. We think it’s still a pretty good picture for all that.
This is an installment in our series of experiments on art and attention. If you liked this one, you may like these past exercises: a finished, unfinished portrait; a sudden rain over a bridge; a unicorn tapestry; some buckets from Home Depot; and a Whistler painting.
Sign up to be notified when new installments are published here. And let us know how this exercise made you feel in the comments.
New York
Metropolitan Diary Challenge Day 2: How to Write Your N.Y. Story
Welcome to Day 2 of the Metropolitan Diary challenge, part of our celebration of the column’s 50th anniversary. On Day 1, we gave you tips for identifying your New York City story. Today, we’ll help you write it. (Missed Day 1? It’s not too late to start.)
What makes for a good Diary? It’s simply a good story that happens to be set in, and capture, the essential New York-ness of the city. While this isn’t a full writing course, we do have guidance on the kinds of elements that the submissions we publish include. They typically have: a beginning, middle and end; sharp details; catchy dialogue; a bit of surprise; some humor, warmth or emotion. But there is no formula, so flouting these loose rules can be worthwhile.
Don’t worry if you don’t think of yourself as a “writer.” Focus on being a “storyteller.” Pretend you are telling your story to the person who’d most appreciate it, using whatever conversational language or pacing that would hold their attention. Do it out loud if you want, maybe give that person a call and tell them your story (or tell it to them again). Then write it down.
That’s the big picture. For more tips, read on.
Here is an example of a published Diary that we (and readers) really liked, and a few thoughts on why that may help crystallize yours.
Unacceptable
Dear Diary:
I went to a new bagel store in Brooklyn Heights1 with my son.
When it was my turn to order, I asked for a cinnamon raisin bagel with whitefish salad and a slice of red onion.2
The man behind the counter looked up at me.
“I’m sorry,” he said. “I can’t do that.”3
— Richie Powers
One of this item’s best qualities is that it is short and snappy. Only 53 words! Although we will use stories of up to 300 words, many don’t need to be that long and the column doesn’t work if we don’t have a mix of long, medium and short, so we are always looking for stuff like this. Here’s another one!
At Attention
Dear Diary:
It was December 1967. I had just finished basic training at Fort Dix in New Jersey and was traveling to Boston in uniform. For reasons I no longer recall, I stopped in New York City on the way.1
Walking on the Upper East Side2 in a snowstorm, I spied another man in a uniform. He was older, and his cap bore the familiar gold band that identified him as an officer.
I rendered a snappy salute. It was not returned. 3The uniform was unfamiliar, so I guessed he was a foreign officer. Military courtesy still required me to salute.
A little farther down the street, I encountered another officer and offered another salute that went unacknowledged.4 His uniform was strange to me as well.
The third time it happened, the man I saluted ignored me while holding the door for a couple 5on their way into a large apartment building.
I realized I had been saluting doormen.6
— Stephen Salisbury
To get your storytelling muscles going, think through or jot down the answers to some of these questions.
Let’s start with setting the scene.
- When and where in the city did this happen? Is this place well-known?
- Was there anything particular about that point in your life that’s relevant?
- What did you see, hear, smell? Was there something notable about the weather?
Now, let’s move to the middle, the meat of the story.
- Did you have an exchange with someone?
- What details are important to how events unfolded, especially in setting up the ending?
And now, the end.
- What’s the resolution? Is there a punchline?
- Does the story end with a sense of shared humanity or some other warm feeling that lingers? You don’t need to name it. A good description will often allow readers to feel it too.
- Why has this experience stayed with you?
- Lines like “and that’s why I love New York” are almost always unnecessary.
That’s it. Keep your story simple and use the kind of plain language you use in conversation. You are sketching a moment in time. The details are important. Let them move the story along. Have fun and good luck.
Once you’re done, read through what you’ve got. What details are less important and can be left out? (Remember, there is a strict 300-word limit.)
Write your Metropolitan Diary however you like, on paper, on your phone or wherever! When you’re happy with what you’ve written, put your diary entry into the box below, fill out your information and submit it. You might just hear from me about including it in a future column.
This is the official submission form, so make sure to double-check your work before hitting submit.
That’s it! Submit your Metropolitan Diary.
By transmitting your submission, you grant The New York Times Company a perpetual, royalty-free license to use the submission in any medium. They may be edited, and may be republished and adapted in all media. You may reprint your story elsewhere after it appears in The Times.
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