14 Behind-the-Scenes Secrets of Hollywood Food Stylists

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Hollywood food stylists are little short of magicians—only instead of pulling rabbits out of hats, they’re turning piles of mashed potatoes into ice cream sundaes. Indeed, making food (or food-like products) appear photogenic and appetizing onscreen is a job for a true illusionist. Mental Floss spoke to a few food stylists working in TV, film, and commercials—from Game of Thrones to Taco Bell—to bring you the tricks of their magical trade.

1. MOST OF THE FOOD BEING FILMED IS REAL.

While food stylists are well-versed in the old-school swap tricks—using a pint of white glue to impersonate a glass of milk, for example—those are being phased out. Now, directors want actors to interact with their food, and high-definition camera lenses have made the fake stuff much more obvious. Plastic food props only appear in the background of scenes today, where they're less visible and susceptible to scrutiny.

“I only deal with real food,” says Chris Oliver, who has styled food for movies including Gone Girl (2014) and TV shows such as Seinfeld and Big Little Lies. “You also have to think about how a character would cook something or put a plate together. Realistic food is not all beautiful and perfect. I make ugly food and burnt food, too.”

There’s a trend in commercial food styling to present dishes that are less-than-perfect, too. Shellie Anderson, who styles food ads for clients including Burger King and Ragù, says it’s the consumers who are demanding food look more realistic and therefore more approachable.

“People are tired of seeing something in a TV commercial and then ordering it in a restaurant and it doesn't look the same,” she says. “You don’t want it to look staged anymore. You want a burger to look like the cheese naturally dripped off and landed on the plate.”

2. THEY GO THROUGH A LOT OF FOOD ...

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If a food stylist needs one sprig of parsley for a shoot, they’ll often order 10 bunches. They never know what the condition of the parsley is going to be when it arrives from the produce vendor, or if the shoot is going to require more than they originally planned for. Carving a turkey in a scene? That may require two dozen birds if an actor keeps flubbing his line.

“It really depends on how much of a story point the food is and how important the scene is for the director,” Oliver says.

Food stylists usually have relationships with produce vendors, who can look for products with the specific size, shape, and color that stylists need. No bruises or dents, and no frozen lettuce! But stylists can hide those things if they have to.

Ice cream is infamously hard to keep intact because it melts so quickly. Food stylists have been known to replace the scoops with dollops of meringue, which don’t melt, or butter rolled in sugar. Oliver makes her sundaes the day before and sticks them in the freezer, spoons and straws and all. If they freeze rock hard overnight, they can last a few hours on set the next day before being replaced with another sundae lined up in the deep-freeze. Anderson sprays her ice cream with cold spray, an aerosol can of super-chilled gas used for cooling electronics.

3. ... BUT THE FOOD RARELY GOES TO WASTE.

On film and TV shoots, there are rarely leftovers. In fact, good food stylists often compete with the caterers: Actors usually have to eat the food during their scenes, and the crew finishes off the scraps. While shooting a Chinese New Year scene for the show Fresh Off the Boat recently, actress Lucille Soong told Oliver, who was styling that episode, that she was going to skip lunch because she wanted to enjoy eating her food on camera. “That was pretty freaking flattering!” Oliver says.

Because Oliver works on multiple TV shows in a single day, if an item doesn’t get used on set and never comes out of her cooler, she can just take it back to her shop and recycle it for use on another show. If something can’t be used again, she’ll take it home and make salsa or jam. “When it gets really old, I'll just stick it in vodka,” she says.

Commercial shoots tend to have more unused food. Anderson says anything that’s still edible will be given to a food pantry. “I once donated an entire swordfish when we did a commercial for a fish restaurant,” she says. “We never even used it. So I kept it on ice and took it to a men's homeless shelter. They were thrilled to have it.”

4. THEY VALUE FOOD SAFETY.

Another reason food stylists swap out on-camera food so much is because of safety concerns—hot and cold foods need to be kept at certain temperatures that may not be practical on-set. Sushi-grade tuna may be replaced with watermelon, for example, because the fish spoils so easily.

Oliver requires all of her employees to have a food handler’s license. She also only works out of commercial kitchens (including the one on her fully-equipped food styling truck). But not every food styling team does; some prepare food in their homes. “The reason that I get so much work is that everybody knows I'm a chef and I have a real kitchen,” Oliver says. “People trust my food. I’ve done a bunch of movies with Reese [Witherspoon] because she knows that if I’m on set, the food is safe to eat.”

5. WOMEN DOMINATE THE FIELD.

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While there are a few well-known male food stylists, for the most part the key food stylists in the U.S. are women. (Both of Anderson’s daughters are food stylists, too.) The reason for this dates back decades.

Before food styling became its own career in the 1990s, it was up to network employees with home economics degrees (almost always women) to cook on-camera food. Then props departments became responsible. “But props guys can’t even make spaghetti,” Oliver says, laughing. So according to her, these guys would go home and ask their girlfriends or wives to make whatever food was required for the next day’s scene. “Eventually they would just hire their girlfriends or wives to do it; keep the money in the family,” she says. “I know five food stylists who at one time were in relationships with prop masters.”

Also in the 1990s, networks began making more multi-camera TV shows. A lot more food began appearing on screen, and actors openly discussed their dietary restrictions. They were vegan, sugar-free, and low-carb all of a sudden. Oliver trained at the Culinary Institute of America and had worked in restaurants and catering jobs before stumbling into this career. “Because I was a chef, and I understood how food works, I knew how to feed people and make food last on set,” she says. “And I could charge anything I wanted to.”

To get a job as a food stylist today, it helps to know someone already in the industry and have a culinary background. Everyone starts as an intern, and then may be able to work their way up to being an assistant and then a stylist. “Not everybody can be a food stylist,” Anderson says. “You have to be able to cook, but you still have to be creative. And you have to be able to work fast and under pressure.”

6. THEY LIVE OUTSIDE OF LOS ANGELES NOW.

Now that movies and TV shows are frequently filmed all over the world, instead of just on sets in Los Angeles, food stylists can be based anywhere. There is a concentration of stylists who live in Vancouver, British Columbia, for example, because that's where many shows are now filmed. Labor laws also often require production crews to hire locally, so residing outside of L.A. can be a real advantage.

Some commercial food stylists, like Anderson, are flown in for shoots. “Food stylists can make or break a commercial,” she says. “And if you have trouble and you don't know what you're doing, it can be a real problem for production.” This is especially true on out-of-the-country shoots, when stylists don't have the resources that they’re used to. So clients who know her and her skill level, such as Taco Bell, will fly her to wherever they're filming.

7. THEY TALK LIKE CHEFS AND FILMMAKERS.

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Food stylists use a mix of back-of-the-house kitchen lingo and film jargon. Some examples: The “hero” is the food that is written into the script, is being shot, and must appear in front of the actor. “Bite and smile” is when an actor takes a bite of food and pretends to like it. “All day” is the total number of items needed; if they needed five turkeys on a set, they would say “five all day.”

8. NOT EVERYONE WANTS TO BE IN THE MOVIES.

Food stylists usually specialize in different media: film, TV, commercials, or print editorial. Stylists often prefer one over the other. Print editorial is shot in a controlled studio and tends to have more leeway for creativity. Commercials are tied to a brand’s specifications. Film and TV shoots on location are in unpredictable settings and can be physically demanding. But everyone tends to work long, 12- to 14-hour days. For commercials, it can often take three days to shoot one 30-second spot.

When working on a movie or TV show, the actors’ demands usually take precedence over the food needs. After working on one film, Anderson had had enough and dedicated herself to commercial work. “When I do commercials, the food is the star,” she says. “So [the directors] want to make sure I have everything I need. On a movie, they could care less about you.”

9. FOOD STYLISTS DON’T JUST MAKE FOOD.

Laurence Fishburne as Jack Crawford, Mads Mikkelsen as Hannibal Lecter on Hannibal
NBC

Sometimes food stylists are expected to create sci-fi props—what would a person eat in the year 3000?—or fantasy items that they have no experience with. While working on the TV show Agents of S.H.I.E.L.D., Oliver made gooey, edible slime from her imagination. “I also had to roll with the [actors’] different dietary needs,” she says. “I had to be able to make vegan slime, sugar-free slime, gluten-free slime, gelatin-free slime … Slime, any way you want it.”

Oliver also has to make items that you don’t really want to put in your mouth. While filming the TV show Big Little Lies, she made green-colored vomit for actress Reese Witherspoon of cucumbers and parsley. She says it was tasty, like green gazpacho. For a war film, she had to make 400 pounds of “dirt” for a group of prisoners of war to eat. She got Pakistani soil shipped to California so she could match it exactly. (Her recipe: ground-up Oreos and graham crackers, mixed with brown sugar and white sugar.)

Janice Poon, the food stylist behind the cannibal-centric TV show Hannibal, had a more challenging obstacle: how to make dishes that resembled human flesh. She refused to do research on cannibalism websites, she told HopesAndFears.com, but she studied a lot of anatomy books. “I’m just like Dr. Frankenstein,” Poon said. “I’m always stitching things, exchanging, putting one kind of meat on a different bone, patching stuff together. ... The key is to let the viewer’s imagination do more of your work.” She transformed veal shanks into human legs, and used prosciutto slices to mimic slivers of a human arm.

10. THEY PACK SOME SERIOUS GEAR.

When shooting, stylists need to be prepared for anything. They carry tools including tweezers, scissors, paint brushes, knives, offset spatulas, wet wipes, syringes, rulers, Q-tips, and spritz bottles.

“Think about your kitchen: all of your mixing bowls and utensils … I have that times 10 in my kit,” Anderson says. She also has a torch on hand for quick-cooking burgers and cold spray for extending the life of ice cream. Other stylists may have glycerin for adding shine or Kitchen Bouquet sauce for adding color. Poon often uses a white ceramic knife so she can see what she's doing on dark sets and work more quietly, so as not to disturb the acting process.

Food stylists sometimes work in erratic environments. Oliver brings her own 17-foot, cab-over truck to shoots. “It has a lift gate and everything's on wheels, so I can take everything out and have a kitchen in the middle of the desert, if I want,” she says. Inside, she has a full commercial kitchen: a six-burner stove, refrigerator, microwave, grill, freezer, prep tables, storage, TV, and a generator.

11. THEY’RE SKILLED AT IMPROV.

When production starts, the prop team sends memos to actors or their reps asking about food allergies and dietary restrictions. As trained chefs, most food stylists are happy to accommodate such limitations, cooking convincing swap-outs. “I find out what they will eat and make it happen,” Oliver says.

For example, Poon once made a convincing vegan “raw meat” on Hannibal using only grains. “I made lamb tongues out of bulgur and water,” Poon told HopesAndFears.com. “It’s like making a Lebanese kibbeh. You mix cracked wheat with water and it makes a kind of mush that holds together. The texture is a little 'nubbly,' so I added a pink food coloring, made little tongues out of kibbeh dough, steamed them up, and they were my little lambs’ tongues.”

Sometimes a director changes his or her mind at the last minute, and what was supposed to be a spaghetti dinner, for example, is now a breakfast spread. So the food stylist will squish down the meatballs and turn them into sausage patties. In an interview with NPR, food stylist Melissa McSorley recalled a time when a movie director suddenly decided to cut open a birthday cake she had made. The problem: It wasn’t real.

“So we had to cut the cake that was made out of Styrofoam, and I had to use a saw in order to do it because none of my knives could get through it,” McSorley said. “And then we had to layer in cake so it did look like it was real and then we had to send people scurrying to many markets to find white layer cake so it looked like people in the background could be actually be eating the cake.”

12. THERE’S ALWAYS THE SPIT BUCKET OPTION.

Nikolaj Coster-Waldau, David Bradley in Game of Thrones
HBO

Professional actors will often pick at the food in front of them, but not eat it because they know their scenes are going to require a lot of takes; they could be eating birthday cake for eight hours straight. Others dive right in. For a scene in The Guilt Trip (2012), actress Barbra Streisand had to pretend she was in a steak-eating contest. Oliver says they went through more than 300 pounds of meat for that scene’s three-day shoot and Streisand was totally game.

“But there’s a part towards the end where she has to eat really quickly and do a line without, you know, choking and dying,” Oliver says. “So I switched out the steak with seared watermelon. She took one bite and it sort of dissolved in her mouth, so she could do her line. If you watch it, and you really listen, you can hear the crunch of the watermelon.”

Sometimes, though, the spit bucket is the only option. In season one of Game of Thrones, the character Daenerys Targaryen had to eat a whole horse heart. But the actress who plays her, Emilia Clarke, actually had to eat 28. They were made of solidified jam, which tasted like “bleach and raw pasta,” she told The Mirror. “It was very helpful to be given something so truly disgusting to eat, so there wasn’t much acting required. Fortunately, they gave me a spit bucket because I was vomiting in it quite often.”

13. SOMETIMES THEY’RE SURPRISED BY THE FINAL PRODUCT.

Food stylists who work on multiple projects at a time, like Oliver, can’t always stick around to see how their food will be used. They may later find out that a gorgeous spread was relegated to the background, or worse. For a scene in Seinfeld, Oliver was once asked to prepare a perfect, glistening turkey. “Later I was home watching the episode and they had put the turkey on Kramer!” she says. “I was literally crying I was laughing so hard. Never in a million years did I think my turkey was going to end up with a guy’s head.”

14. THEY THROW EPIC DINNER PARTIES.

Food stylist preparing vegetables
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You’d think that being around food all day would make food stylists tired of making things look nice. But most food stylists love to cook, and on the days they aren’t working, they love to throw parties. “People always expect to have beautiful food,” Anderson says. “And I don't disappoint.”

13 Secrets of Obituary Writers

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When Chicago Sun-Times obituary writer Maureen O’Donnell sits down to assess the lives of the recently departed, she feels less like a journalist and more like a historian. “I sometimes feel like I’m a frustrated history teacher,” she tells Mental Floss. “I get to teach a lesson every day and share it with readers.”

Unlike death notices, which only recite basic facts about the deceased, or funeral eulogies, which offer impassioned remembrances from loved ones, obituaries are a written memorial of a person’s legacy published for the world to see. Instead of dwelling on death they celebrate life, from the most recognizable celebrity to the quietest neighbor. They prove that almost everyone has a story to tell, and it’s sometimes only after a passing that people realize exactly how a person has left their mark in the world.

O’Donnell recalls a 2010 death notice for a Montana resident named Jim Cole, which mentioned his interest in photographing grizzly bears. Only after excavating details of his life did she realize Cole is the only person in North America to survive two grizzly attacks, 14 years apart. “They called him Grizzly Jim,” she says. “He wore an eyepatch because the second attack left him without an eye.” (Cole died of natural, not wildlife-related, causes at age 60.)

For more on how obituary writers approach the delicate art of human posterity, we asked several of them—including O’Donnell—to tell us about their work. Here’s what they had to say about a life spent covering death.

1. THEY LOOK FOR THE “ROSEBUD” MOMENT.

John Pope, who writes for the Times-Picayune in New Orleans and assembled a book of obituaries, Getting Off at Elysian Fields, says that the goal of his work is to discover the “Rosebud” moment of an individual’s life. (That's a reference to the 1941 film Citizen Kane, and the desire of a reporter to define the mysterious dying word uttered by wealthy business magnate Kane.) “I look for ‘Rosebud,’ what makes a person tick,” he says. “When you talk to relatives, they talk about how he loved family, how he loved life, but you need to keep going and dig deeper.”

In 2009, Pope was tasked with profiling William Terral, a beloved pediatrician and gardening hobbyist. While the former was a noble career, Pope found his real jewel in the fact that Terral was once so struck by the bag of plasma separated from his blood during a medical procedure that he took it home, hung it from an IV hook, and pumped the liquid into the ground to see if it would help his garden grow. “His hibiscus flourished,” Pope says. So did his obituary.

2. IT’S ACTUALLY A PRETTY UPLIFTING JOB.

The stereotype of obituary writers toiling under the shadow of death, constantly aware of the fragile nature of life, isn’t exactly accurate. According to Pope, some family members have such fond memories of the deceased that talking to them can provoke a lot of amusement. “With Edward ‘Bud Rip’ Ripoll, a saloonkeeper, I had to ask his daughter to stop because I was laughing so hard and the stories were so good,” he says. (Ripoll was a Budweiser fan, and his urn was inscribed with the dedication, “This Bud’s for you.”)

O’Donnell describes it as “uplifting” work. “You’re frequently writing about people who made a difference in the world, large or small. The end of life is always sorrowful, but with someone like Mary White, who lived to be 93 and started the La Leche League [to normalize public breastfeeding] in her living room that now has tens of millions of members across the globe, that’s inspiring.”

3. THEY SOMETIMES KNOW WHEN DEATH IS IMMINENT.

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Obituary writers have all kinds of information channels when it comes to mortality. Funeral homes may call to notify them; death notices in their paper or in another might provide a clue that a lesser-known person’s life is worth investigating further. Or they may simply be tipped off that the end is near. “For Barbara Harris, who was a founding member of Second City, one of my co-workers heard she was ill,” O’Donnell says. “I was able to prepare the obituary in advance, so when the time came, there was something comprehensive for readers available.”

Other times, that information can be a little off. When an editor was sure a prominent celebrity was going to die, Pope was told to prepare a lengthy obituary. “It was Paul Prudhomme, a chef who a line editor was convinced was going to launch to glory at any moment," Pope says. “He died 27 years later.”

4. THEY NEED TO BE READY FOR AN EMOTIONAL DELUGE.

Mike Bodine, who writes for the Sheet in Mammoth Lakes, California, says that an obituary writer will often be the first person a relative of the deceased has spoken to in depth about a loved one’s passing. “They can be really distraught,” he says. “It’s a matter of waiting it out while people just let their heart out. You can’t always use what they’re saying, but just listening and being patient can help open people up. It can feel a little bit like handling the body itself. You don’t want to push people.”

5. THEY CAN GET CAUGHT UP IN FAMILY SQUABBLES.

Phoning family members to collect memories of the recently deceased can be a sobering experience. Bodine says that children of the deceased can sometimes try to use an obituary to vent about personal vendettas. “When someone has passed and a lot of money and kids are involved, it can turn into animosity,” he says. “Someone will say a sibling is screwing them over on money. It’s just distortion you have to wade through.”

6. FAMILIES CAN GET UPSET AT THEM.

While an obituary writer’s job is to celebrate life, that doesn't mean they exclude the less-flattering components. When he was writing about a local politician, Pope discovered that he had once been to prison for misappropriating campaign funds. When he mentioned that in the obituary, the man’s daughter phoned in an uproar. “She asked why we were doing that. I told her it was because it was the truth.”

O’Donnell has had similar experiences. “Unfortunately, in Chicago, a lot of politicians have been investigated and convicted of corruption," she says. "It gets reported at the time it happened and readers would have known about it. It would be a disingenuous, fraud obituary if you didn’t include it.”

7. OTHER TIMES, PEOPLE LIE.

Family members may also omit certain facts. Because obituaries are perceived as the last word on many people, relatives and friends sometimes lean into the idea it should be a hagiography. “With [socialite] Mickey Easterling, no one was going to tell me her age,” Pope says. “I had to cite public records, which I’ve never had to do before.” On another occasion, the deceased’s loved ones refused to inform Pope that a suicide had occurred. He found out the truth months later, after listing the cause of death as “undetermined” in the obituary.

8. IT’S BETTER TO DIE ON CERTAIN DAYS THAN OTHERS.

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If you want a well-read obituary, try to die on a Friday. According to Pope, people who expire that day of the week are more likely to be targeted for inclusion in the Sunday edition of the paper, which affords more space and more time for the obituary writer to do a thorough job. “Dying on a Friday will get you more play on a Sunday,” he says. Holidays are also ill-advised times to make an exit, as reporters with dedicated beats (politics, movies, sports) aren’t usually around to assist in reporting notable deaths in those fields, and readership is down.

While you'd think the dying and their associates would have more pressing issues, sometimes they prioritize that recognition: In 1936, King George V's physician injected the monarch with enough morphine and cocaine to hasten his death in time for the next morning's papers, rather than the less-desirable evening editions.

9. PEOPLE CAN BE A LITTLE NERVOUS AROUND THEM.

When an obituary writer becomes well-known in the community, their very presence can portend bad news. If Pope needs to phone someone for any reason other than someone’s passing, he’ll sometimes begin the call by saying, “It’s Pope. No one died.”

That slight unease can work both ways. Once, Pope walked into a social gathering where three people whose obituaries he had already written and banked for future use were standing. “I just kind of stopped,” he says.

10. THEY GET INVITED TO FUNERALS.

Obituaries are often treasured by families who appreciate how a writer has summarized and memorialized the deceased. Sometimes, that gratitude can extend to invitations to come to the funeral. “That happens with some frequency,” O’Donnell says. “I went to the services for a rock concert roadie, who I didn’t know, but he worked a lot of rock concerts I went to the in 1970s. I met a lot of people there who went to the same concerts.”

Other times, they’ll be dispatched to cover the funeral for the purposes of writing a piece. “I went to Al Copeland’s funeral, the founder of Popeyes Chicken,” Pope says. “There were 24 white Bentleys, a horse-drawn hearse, and a band playing ‘My Way.’” The solemn music continued until the procession reached the grave, at which point they broke into “Love That Chicken From Popeyes.”

11. CERTAIN PHRASES CAN ANNOY THEM.

Work the death beat long enough and certain recurring phrases begin to wear on a writer’s patience. Pope dislikes using the term the late to precede a decedent’s name. “What’s the point?” he says. “Can we get over that?” He also dislikes funeral service because “it’s redundant,” and avoids using “natural causes” as the reason for a death whenever possible, because it's non-specific. "Always get the cause of death," he says.

12. SOME PEOPLE USE OBITS TO TAKE REVENGE.

A highlighter is run over the word 'revenge'
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O’Donnell says she's struck by the more contemporary practice of “revenge” obituaries, which are penned by family members and tend to criticize their departed relative for allegations relating to abuse or other personal reasons that have prompted a vendetta. Pope recalls a time when a widow sent in a death notice to his paper claiming her late husband’s law firm had sent him to an early grave. “We spent a day with lawyers de-fanging it,” he says.

13. THEY HAVE THEIR OWN AWARDS SHOW CALLED “THE GRIMMYS.”

Acting as a kind of unofficial trade organization, the Society of Professional Obituary Writers invites devotees of the dead to exchange information on their work and attend functions like ObitCon. Each year, awards—known as the Grimmys—are awarded for best long- and short-form obituaries, as well as for lifetime achievement. The trophy resembles a tombstone. “I was nominated last year,” Pope says.

11 Secrets of Tour Directors

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Tour directors get paid to travel the world, dine at incredible restaurants, and sleep in comfy hotel beds. Of course, there’s a lot more to the job than merely hoisting a brightly colored flag and rattling off pertinent facts. Some would even describe the work as exhausting, both physically and mentally. Unlike tour guides—who provide local expertise about a city or attraction and generally don't have to travel far—tour directors book gigs across the country or abroad via tour operation companies, handle the pre-trip planning, and conduct the tour, all while fixing the problems that pop up along the way. To find out what their day-to-day work is really like, Mental Floss spoke with three tour directors (or managers, as they're also known). Here’s what they had to say about an occupation that many label a “dream job.”

1. FORMAL TRAINING IN TOURISM ISN’T REQUIRED.

While some tour directors hold certificates in tourism and hospitality management, this isn’t a strict requirement, and professional directors come from a range of educational backgrounds. Kimberly Fields-McArthur, an American tour director based in Australia, has a degree in biblical studies and archaeology, and Anne Marie Brooks, a former tour director turned cruise ship worker in Orlando, has a background in musical theater.

More important than education or training: their skills. Tour directors must be highly organized, adept at speaking in front of large groups, and people-oriented. "A lot of it is a personality thing versus a training thing," Brooks says. "You can’t train someone to have a personality to work with people.”

2. WHEN THEY’RE ON A TOUR, THEY’RE ON CALL 24/7.

While they might get to spend the night in a nice hotel, the sleep of a tour director is often interrupted. Brooks, who used to lead city tours for high school performance groups, recalled a time when a large group of rowdy, drunk men stayed on the same floor of a hotel as the girls in her group. Although she was staying on a different floor, she received word around 3 a.m. that the boozed-up bros were making some of the girls—and adult chaperones—uncomfortable, so she went down to the front desk to sort it out. No other rooms were available, but the hotel agreed to hire a security guard to sit in the hallway for the duration of their stay.

Similarly, Fields-McArthur says she’s been forced to respond to issues in the middle of the night quite a few times. “One of them was a gentleman who made a very bad decision about what height he could jump into the pool from and ended up breaking his foot,” she says. “That was 2 o’clock in the morning.”

3. THEY HATE IT WHEN YOU CALL THEIR JOB A “FREE VACATION.”

“There’s nothing about what I’m doing right now that is me on vacation,” Fields-McArthur says. “If I am on vacation, it means I am not doing my job and you are probably not having a good time.”

Kathi Thompson Cullin, a tour director based in Grand Rapids, Michigan, adds: "I was up at 6 o’clock this morning and didn’t go to bed until midnight doing my paperwork.” When they're not traveling, they're handling all the pre-trip arrangements: crafting the itinerary, ordering tickets for activities, taking care of transportation and lodging, and following up with venues to make sure they haven't forgotten about their reservations (a common problem). Plus, there's the added challenge of shepherding dozens of people around a city that's unfamiliar to them, which isn't exactly a walk in the park, either.

4. THEY GO THROUGH A LOT OF SHOES ... AND LUGGAGE.

If you’re looking for a job that forces you to stay active, tour directing might be the profession for you. Thompson Cullin and Brooks say they walk so much they burn through three or four pairs of sneakers per year. (Pro tip: If you’re looking for comfy travel shoes, they both swear by their Skechers.) Suitcases tend to be another casualty of the job. Thompson Cullin says she stopped buying expensive luggage because it would just end up “beat up and broken with the wheels off” by the end of the year.

5. THEY’RE TRAINED TO ANTICIPATE THE WORST ...

People get lost. Accidents happen. Natural disasters strike. Tour directors have to be prepared for the worst-case scenario. “If I’m leading a trip to Indonesia, I need to know volcanoes might be part of the process of being there, and earthquakes might be part of the process,” Fields-McArthur says. So educating herself about potential disasters—and how to deal with them—is part of her pre-trip research.

Things can go wrong with the guests, too. "I’ve had trips where people have gotten very sick," she says. "I had one trip where I had seven people end up in the hospital at different times for completely different reasons. I’ve seen broken bones and illnesses and hospital stays for days on end, where we ended up having the trip continue on to a different country and we had to leave them behind.” (In those instances, the tour director notifies the tour company, which follows up with anyone injured and left behind to ensure they have travel arrangements once they recover.)

6. ... BUT IF SOMETHING LESS SERIOUS GOES WRONG, YOU PROBABLY WON’T KNOW ABOUT IT.

Problems arise more often than you’d expect. A misspelled name could result in the hotel not having any record of a 50-plus person reservation—this once happened to Thompson Cullin—and businesses often forget that large groups are scheduled to come in on any given day. “So many things go wrong on a day-to-day basis that our guests will never know about,” Brooks says. One time, a restaurant she took her group to was understaffed, so she stepped in, grabbed a pitcher of soda and plates of food, and started refilling their glasses and serving them—all while playing it off like she was merely mingling with the group.

The job is hard work, but tour directors never let it show. Fortunately, Thompson Cullin was able to fix the hotel reservation error before her guests ever found out about it. “Think of me as a duck floating on the water,” she says. “To the human eye I’m looking very peaceful floating along, not a care in the world, but underneath my feet are paddling like crazy just to stay afloat.”

7. THEY REALLY LIKE TALL PEOPLE.

While guests do get separated from the group from time to time, tour directors do their best to avoid it. In addition to holding a flag or umbrella at the front of the line to help guests find their way, they have another trick up their sleeve: “What I usually do is try to make friends with somebody who’s very tall in the group,” Fields-McArthur says. She'll ask if they'd mind being the last person in line; that way, when she looks back and sees their head bobbing above the others, she knows that the group didn’t get split up. (Of course, this doesn’t stop the occasional straggler from ditching the group any time they get distracted by a gelato shop or chic boutique.)

8. SOMETIMES THEY HAVE TO BREAK UP FIGHTS.

When you take a big group of strangers from diverse backgrounds and send them on a trip together, it doesn’t always end well. Thompson Cullin said part of her job involves playing mediator and preventing disagreements from escalating. The most extreme example of this is the time when she had to physically break up a fight in the hotel lobby between two women who weren't getting along on her tour. When tensions reached a boiling point, one woman raised her arm to hit the other, but Thompson Cullin arrived in the nick of time. “I grabbed both of their arms and said, ‘Come with me now,’” she says. They did cooperate, but only after they received a warning that they’d be kicked off the tour if they continued to quibble.

9. THEY OFTEN DEPEND ON TIPS.

The median wage for travel guides—those who "plan, organize, and conduct long distance travel, tours, and expeditions for individuals and groups"—is $25,770 annually or $12.39 hourly, according to 2017 data from the U.S. Bureau of Labor. However, Fields-McArthur says many U.S. tour companies pay directors by the day, and wages range from $100 to $300 per day (on the lower end of the scale) to roughly $400 per day for higher-paying jobs. For directors in the former camp, tips are essential. “On some of the older adult tours, sometimes they give you $5 in an envelope and say, ‘That was the best trip of my life,’ and you’re like, ‘Great, I can’t pay my bills now,’” Fields-McArthur says with a laugh. If you’re on a tour and you're unsure how much to tip, check the information packet provided by the company. They usually include tipping guidelines.

10. THEY MEET SOME INTERESTING CHARACTERS.

Tour directors see a steady stream of fascinating people from around the world. One of the most memorable characters that Thompson Cullin ever encountered was a “sweet little old man” from New Jersey on a tour of Sedona, Arizona, who happened to be an ex-con and “retired” member of the Mafia. “He said to me at lunch, ‘You know what Kathi, I like you. You got moxie. Here’s my card. Anybody ever gives you trouble, you call me and I’ll take care of them,'” she says. She thought he was joking at first. He wasn’t.

11. THEY NEVER GET TIRED OF THE AMAZING SIGHTS.

Sure, they may get sick of certain activities—Brooks, for example, has had her fill of Radio City Music Hall—but awe-inspiring sights like the Grand Canyon become no less impressive with repeated viewings. “I never get tired of it. That’s probably the one question I get asked all the time,” Thompson Cullin says. She also enjoys witnessing how her guests react to the sights they’re seeing. “My biggest perk is to see people’s faces transform into childlike wonder when they see things for the very first time—things that they have always wanted to see.”

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