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Strauss also contributed to, and in addition to writing liner notes for albums by and others. He won the ASCAP Deems Taylor Award for his coverage of 's suicide for Rolling Stone and his profile of in The New York Times Arts & Leisure section. He was then invited by to become a contributing editor at where he wrote cover stories on, the, and. He was invited by to become a music critic at where he wrote the Pop Life column and front-page stories on 's CD-editing policies, music censorship, radio, and the lost wax figures of country-music stars.

He moved on to, where he did everything from copy-editing to fact-checking before becoming a regular reporter and critic. While in school he began his career writing for Ear, an avant-garde magazine, and editing his first book, Radiotext(e), an anthology of radio-related writings for the postmodern publisher.

Instead of models in bikinis lounging by the Project Hollywood pool all day, we had pimply teenagers, bespectacled businessmen, tubby students, lonely millionaires, struggling actors, frustrated taxi drivers, and computer programmers – lots of computer programmers.' The reviewer remarked that 'The sell is that, with the special techniques they learn from Mystery and other gurus, the ubergeeky can often give a convincing simulation of being a regular human being, even if, like one sarger in this book, they are in fact near-sociopaths.' Reception Neil Strauss was quoted in a review by Steven Poole in as saying, 'A side effect of sarging (socializing with the intent of finding and seducing a woman) is that it can lower one's opinion of the opposite sex', though the reviewer noted, 'And yet, as he has described it, the inverse is true: a low opinion of the opposite sex is a prerequisite for sarging.' Strauss was also quoted as saying, 'The point was women the result was men. Strauss mentions his experiments with sleeping habits, personal grooming tips, and encounters with celebrities such as, and. By the end of his story, Strauss concludes that a life of nothing but picking up women is 'for losers', and he advocates incorporating pickup artist methods into a more balanced life.

He details how rivalries and animosity between members of the community lead to Project Hollywood's collapse and documents the start of 'Real Social Dynamics' led by Tyler Durden and Papa.

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