I had to turn down an assignment this week. It pained me to do so, because I don't take saying no to freelance work lightly. Yet sometimes it has to be done.
On the rare occasions when I contemplate turning down an assignment, I ask myself the following questions to decide whether it's beneficial to say, "Thanks, but no."
What kind of client is it? If it's my first assignment with a publication I haven't written for before—or one I haven't done much work for yet—there are few if any circumstances when I would say no. Turning down work before you've ever even taken an assignment with someone is a surefire way to not get asked again. Sure, there may be extreme circumstances that the editor will understand. If, for instance, I was going into surgery that week or was going to be on a big family vacation we'd planned months in advance, I'd probably have no choice but to turn down an assignment—even if it was with my favorite magazine. But in general, I don't say no to new clients unless it's absolutely unavoidable.
That doesn't mean I say no to my regular clients with abandon. They aren't chopped liver. But if I have a rapport with a specific editor or publication and have consistently written for them in the past, I can feel at least a little more comfortable turning down an assignment on occasion if I absolutely must.
That was the case this week. I've written regularly for this same publication for years, and I normally take on every assignment I'm given. But in this case, the timing wasn't right because my son is home sick from daycare the rest of this week, which won't leave me time to do the interviews and writing I need to do. So I passed.
Can I give the assignment the time and attention it deserves? The 800-word rush job I turned down would have required at least two interviews and needed to be done in less than two full working days. It's something I could have tackled had I been working full-time (or even part-time) those days, but with the little guy home sick, I would have been hard pressed to have time to squeeze in a couple of interviews, let alone research and write. Had I said yes, I likely would have totally missed the deadline or turned in less-than-stellar work, neither of which is a reasonable option in my book. So I was better off passing on the assignment than turning in something second-rate that might have hurt my rep and just created more work for my editor.
Will my other work suffer as a result? Once in a while I pass on work when I am so swamped I can't possibly take on another project. (A good problem to have, I guess!) As a freelancer, it's easy to say yes to every assignment that comes along, only to realize you've overextended yourself. If you have too many tight deadlines at once, odds are at least one of them (and potentially all of them) are going to suffer as a result. Most of the time I can juggle multiple assignments at once, but if taking on one more project means there is no way I can get everything on my plate done in time, I say no and explain to the client why I'm passing this once.
Is it worth my time? Sometimes an assignment comes along that is too much work and too little pay to make it worth it. Granted, if you're a freelancer just starting out or you're in a slow period where you don't have other work, that low-paying assignment is better than nothing. But if I am asked to do a project that doesn't even come close to my usual hourly rate, I might turn it down so I can focus on work that does pay a decent wage. (There's also a bit of principle at stake here—by taking on a ridiculously low-paying assignment, are you saying your work is worth that much? Are you setting the expectation with that client that it's reasonable to continue paying that rate? But that's a freelancing issue for another day and an ongoing dilemma many writers face.)
Where are my priorities right now? Am I at the point in my career where I am looking to expand my client base and to get published in new publications? If so, and a new client comes along, I'm going to say yes. Or am I working on building relationships with my existing clients and need to spend time developing new pitches to send to them? Then maybe an assignment from someone new isn't what I should focus on at the moment. Or, in some cases, freelancers decide to specialize. If I'm focused on health writing right now and a decorating writing assignment comes along, perhaps it's not worth my time because I am focusing on building up my clips in my new specialty area. All things to consider.
Regardless of your reasons for doing so, if you do say no, be honest. Don't make up excuses. I told my editor my son was ill. She understood and said she'd be back in touch soon with another assignment. The last thing you want to do is turn down an assignment and make up an excuse, only to be found out later. (If you say you're sick but later Tweet about a day at the beach, and your editor happens to follow you on Twitter, you're not going to look like the most reliable character. But I shouldn't have to tell you that.)
Showing posts with label freelance writing. Show all posts
Showing posts with label freelance writing. Show all posts
Monday, March 11, 2013
Saturday, March 2, 2013
Write What You Know—Or Not
Odds are, you've heard the maxim spouted off by high school English teachers: Write what you know. At least I remember mine saying that over and over. But the thing is, in high school I didn't want to write what I knew about. That was boring. That was just my everyday life. Why would anyone find that interesting?
In college, I changed my tune. I grew up in a small (very small—hardly on the map small) town in Wyoming. When I lived there, it wasn't remarkable. It was just life.
But when I headed to college in Iowa, suddenly I realized all those daily experiences I thought were so normal were actually quite remarkable. I learned that it's not every day the old timer cowboys golf in their manure-covered boots or that you can say your family grew up owning a "mountain." And so I wrote about Wyoming. It was what I knew, and it made for interesting stories.
After college, though, I wrote about other things I was assigned to write about—remodeling, decorating, health and wellness on occasion, business, green living. They weren't things I necessarily knew, but I learned about them as I went and so came to know a fair amount about these topics.
At this point, as the distance between my time in my home state and my life away from it increased, Wyoming became less what I knew than a collection of peculiar-sweet memories that made for good stories with friends or random people who remarked with surprise on where I grew up.
Now, however, I find myself gravitating back toward writing about what I know more.
As a new mom, I have started a growing list of stories I'd like to pitch to parenting magazines. And as a woman who suffers from endometriosis, I am researching and writing more about what this chronic illness is and how it affects my life. I have started a new blog on the topic, am busy connecting online with other women who have endometriosis, and I have ideas swirling around in my head for articles I want to write, more in-depth research I want to do, and even a book I may want to pitch to a publisher someday down the road.
These are the things I know now, the things I have personal experience with, the things that interest me at the moment. Sure, I'd still have to do research and line up expert or "real life" interviews to write articles on parenting or endometriosis. But I'd also have my own unique insights to contribute, which is incredibly valuable.
Last week, my freelance writing students brought in lists of story ideas they had brainstormed. Many of them struggled because, they said, they didn't know anything. They weren't experts on anything, so what could they possibly write about?
I told them two things:
1. You know more than you think. And writing about what you know—what you have experience with and personal knowledge of—is incredibly valuable and can set you apart. Don't downplay what you know or think it's mundane. Odds are, if it's interesting to you, it's interesting to other people too.
2. You don't have to write what you know. Think of a topic that interests you, that you wonder about and think others will wonder about as well. As a journalist, you aren't expected to know everything you write about inside and out. If you have a great idea, can do the necessary research and find the right sources, and identify the right market for your story, you can write about you want, even if you aren't an expert.
In other words: write what you know—or not.
A brief public service announcement: March is Endometriosis Awareness Month and I, along with many of my fellow endometriosis sufferers, are trying to spread the word about this chronic illness that affects as many as 10 percent of women in the United States.
Odds are, whether you realize it or not, you know someone who has endometriosis. You may even suffer from it yourself. But it's an incurable illness that often goes undiagnosed for years—and most women keep silent about because its symptoms aren't something they are comfortable talking about publicly. That needs to change, so people are aware of the problems endometriosis causes, so doctors become more informed of what can be done to help women with endometriosis, and so researchers have more funding to support efforts to find its causes and new treatments.
Please take a moment to learn about endometriosis and spread the word about this illness that affects so many women's fertility and quality of life.
In college, I changed my tune. I grew up in a small (very small—hardly on the map small) town in Wyoming. When I lived there, it wasn't remarkable. It was just life.
 |
| What I knew for the first 18 years of my life: Devil's Tower and the Black Hills of Wyoming. Photo via Flickr by Spappy.joneS |
After college, though, I wrote about other things I was assigned to write about—remodeling, decorating, health and wellness on occasion, business, green living. They weren't things I necessarily knew, but I learned about them as I went and so came to know a fair amount about these topics.
At this point, as the distance between my time in my home state and my life away from it increased, Wyoming became less what I knew than a collection of peculiar-sweet memories that made for good stories with friends or random people who remarked with surprise on where I grew up.
Now, however, I find myself gravitating back toward writing about what I know more.
As a new mom, I have started a growing list of stories I'd like to pitch to parenting magazines. And as a woman who suffers from endometriosis, I am researching and writing more about what this chronic illness is and how it affects my life. I have started a new blog on the topic, am busy connecting online with other women who have endometriosis, and I have ideas swirling around in my head for articles I want to write, more in-depth research I want to do, and even a book I may want to pitch to a publisher someday down the road.
These are the things I know now, the things I have personal experience with, the things that interest me at the moment. Sure, I'd still have to do research and line up expert or "real life" interviews to write articles on parenting or endometriosis. But I'd also have my own unique insights to contribute, which is incredibly valuable.
Last week, my freelance writing students brought in lists of story ideas they had brainstormed. Many of them struggled because, they said, they didn't know anything. They weren't experts on anything, so what could they possibly write about?
I told them two things:
1. You know more than you think. And writing about what you know—what you have experience with and personal knowledge of—is incredibly valuable and can set you apart. Don't downplay what you know or think it's mundane. Odds are, if it's interesting to you, it's interesting to other people too.
2. You don't have to write what you know. Think of a topic that interests you, that you wonder about and think others will wonder about as well. As a journalist, you aren't expected to know everything you write about inside and out. If you have a great idea, can do the necessary research and find the right sources, and identify the right market for your story, you can write about you want, even if you aren't an expert.
In other words: write what you know—or not.
A brief public service announcement: March is Endometriosis Awareness Month and I, along with many of my fellow endometriosis sufferers, are trying to spread the word about this chronic illness that affects as many as 10 percent of women in the United States.
Odds are, whether you realize it or not, you know someone who has endometriosis. You may even suffer from it yourself. But it's an incurable illness that often goes undiagnosed for years—and most women keep silent about because its symptoms aren't something they are comfortable talking about publicly. That needs to change, so people are aware of the problems endometriosis causes, so doctors become more informed of what can be done to help women with endometriosis, and so researchers have more funding to support efforts to find its causes and new treatments.
Please take a moment to learn about endometriosis and spread the word about this illness that affects so many women's fertility and quality of life.
Monday, February 4, 2013
Common Magazine Terms Defined
As I jumped into a discussion of magazines in my freelance writing class earlier today, I discovered I was talking in what many students in my class thought was a foreign tongue.
As so many people do when they're speaking the language of their profession, I rattled off magazine-specific terms and phrases in my discussion as if everyone sitting around the table with me knew what I meant.
As it turns out, once I stopped to ask them, most did not.
So I slowed down and spent some time explaining a few of the most important terms to my students, because the truth of the matter is, if you're going to be a successful magazine freelancer or editor or even designer, you need to speak the language.
Here are a few of the most common terms we discussed or will be discussing soon:
Departments/Front of Book (FOB)/Back of Book (BOB)—Departments are the sections generally found at the front of the magazine (or front of book—FOB) and the back of the magazine (or back of book—BOB). Departments usually feature smaller articles focused on a specific topic, which are grouped together in the same section of the magazine. (Side note: At many publications, departments are a great place for freelancers to "break in" to the publication.)
Features/Feature Well—Features are the key content of the magazine. Most publications include a variety of types of features each month—say, a profile or two, an investigative piece, maybe a service article of some type. The length may vary, but generally these articles are longer and more in-depth than what you'll find in the departments. Feature articles are usually grouped together in the feature "well," located at the center of the magazine.
Coverlines—The short titles or article descriptions that appear on the cover of the magazine and are used to "sell" the content in that issue (sometimes called "sell lines").
Masthead—A partial- or full-page list at the front of the magazine (usually near the table of contents and/or editor's letter) that credits the magazine staff including editors, designers, proofreaders, photographers, and executives associated with the publisher. (Sometimes lucky freelancers even get listed in the masthead as contributors.)
Table of Contents (TOC)—The listing of all departments and feature articles included in that particular issue of the magazine—often with brief descriptions of each—found near the beginning of the book.
Hed—Magazine slang for "headline," or the title of each article.
Dek—Magazine slang for "subtitle," or the words located near the title that provide additional clues as to what the article is about. (Not all department pieces include a dek; most feature articles do.)
Subhead—Short phrases or words used within longer articles to break up different sections of the story and provide organization.
Byline—The name of the author listed with the article to give him/her credit.
Cutline—The words that appear near a photo to describe the image or its context (also called a "caption").
Folio—The line that usually appears near the outside bottom of most magazine pages, which generally lists some combination of the page number, name of the magazine, and/or date of the issue.
Initial cap—The first letter of a word designed in a different typeface and/or larger type size to stand out (sometimes also called a "niche cap"); it's often used to introduce the first letter of the first word in a feature article.
Dingbat—Also called an endmark, it's the small image or icon some magazines use to signify the end of an article.
Pull quote—Words pulled from an article that are designed to serve as a textual element on a photo or a visual break on a text-heavy page.
What common magazine terms did I forget? Let me know!
As so many people do when they're speaking the language of their profession, I rattled off magazine-specific terms and phrases in my discussion as if everyone sitting around the table with me knew what I meant.
As it turns out, once I stopped to ask them, most did not.
So I slowed down and spent some time explaining a few of the most important terms to my students, because the truth of the matter is, if you're going to be a successful magazine freelancer or editor or even designer, you need to speak the language.
Here are a few of the most common terms we discussed or will be discussing soon:
Departments/Front of Book (FOB)/Back of Book (BOB)—Departments are the sections generally found at the front of the magazine (or front of book—FOB) and the back of the magazine (or back of book—BOB). Departments usually feature smaller articles focused on a specific topic, which are grouped together in the same section of the magazine. (Side note: At many publications, departments are a great place for freelancers to "break in" to the publication.)
Features/Feature Well—Features are the key content of the magazine. Most publications include a variety of types of features each month—say, a profile or two, an investigative piece, maybe a service article of some type. The length may vary, but generally these articles are longer and more in-depth than what you'll find in the departments. Feature articles are usually grouped together in the feature "well," located at the center of the magazine.
Coverlines—The short titles or article descriptions that appear on the cover of the magazine and are used to "sell" the content in that issue (sometimes called "sell lines").
Table of Contents (TOC)—The listing of all departments and feature articles included in that particular issue of the magazine—often with brief descriptions of each—found near the beginning of the book.
Hed—Magazine slang for "headline," or the title of each article.
Dek—Magazine slang for "subtitle," or the words located near the title that provide additional clues as to what the article is about. (Not all department pieces include a dek; most feature articles do.)
Byline—The name of the author listed with the article to give him/her credit.
Cutline—The words that appear near a photo to describe the image or its context (also called a "caption").
Folio—The line that usually appears near the outside bottom of most magazine pages, which generally lists some combination of the page number, name of the magazine, and/or date of the issue.
Initial cap—The first letter of a word designed in a different typeface and/or larger type size to stand out (sometimes also called a "niche cap"); it's often used to introduce the first letter of the first word in a feature article.
Dingbat—Also called an endmark, it's the small image or icon some magazines use to signify the end of an article.
Pull quote—Words pulled from an article that are designed to serve as a textual element on a photo or a visual break on a text-heavy page.
What common magazine terms did I forget? Let me know!
Tuesday, March 16, 2010
Professional Memberships
Hey, freelancers. Here's your question of the day: Do you belong to any professional organizations?
I recently joined two: the Society of Environmental Journalists (SEJ) and Investigative Reporters and Editors (IRE). I'm still exploring the benefits of both of these memberships, but already I'm glad I spent the money to join.
For starters, I'm learning a ton just from being on some of the many SEJ listservs, where environmental reporters and editors from across the country and all over the world discuss challenges, issues, and topics relevant to environmental reporting. The SEJ members who contribute regularly are open and honest, sharing encouragement and sources and ideas with one another. But it's not all warm and fuzzy—often, there are debates going on about environmental and journalistic issues, too.
And one of the reasons I joined IRE is for access to its tip sheets, investigative reporting story archives, and publications. The information I'm gleaning from the IRE resources is valuable not only to my work as a freelancer, but also to my studies as a master's student completing my degree in Environmental Journalism & Communication.
Why bother joining, when membership fees can set you back anywhere from $35 to more than $100 a year?
Benefits usually include:
Still not convinced? Consider this: Becoming a member of a major professional organization may lend you credibility with fellow writers and potential clients. For many people, that alone makes joining worth it.
Some of the most common organizations that freelancers join include (in no particular order):
(Two examples: San Diego Professional Editors Network and the Austin Professional Chapter of the Association for Women in Communications/Freelance Austin.)
I'll talk a bit more later on about how to pick the right organization for you (hint: I wouldn't fork over the cash for every professional membership you can find—be selective!).
In the meantime, what organizations do you belong to? Do you benefit from your memberships? How did you choose which organizations to join?
Please share here!
I recently joined two: the Society of Environmental Journalists (SEJ) and Investigative Reporters and Editors (IRE). I'm still exploring the benefits of both of these memberships, but already I'm glad I spent the money to join.
For starters, I'm learning a ton just from being on some of the many SEJ listservs, where environmental reporters and editors from across the country and all over the world discuss challenges, issues, and topics relevant to environmental reporting. The SEJ members who contribute regularly are open and honest, sharing encouragement and sources and ideas with one another. But it's not all warm and fuzzy—often, there are debates going on about environmental and journalistic issues, too.
And one of the reasons I joined IRE is for access to its tip sheets, investigative reporting story archives, and publications. The information I'm gleaning from the IRE resources is valuable not only to my work as a freelancer, but also to my studies as a master's student completing my degree in Environmental Journalism & Communication.
Why bother joining, when membership fees can set you back anywhere from $35 to more than $100 a year?
Benefits usually include:
- camaraderie and connections with fellow professionals
- a slew of resources and publications you might not otherwise have access to (including newsletters and/or magazines produced by the organization and its members)
- job listings
- email discussion lists
- discounts on conferences, books, and in some cases even things like rental cars and insurance
- networking opportunities
- mentoring opportunities
Still not convinced? Consider this: Becoming a member of a major professional organization may lend you credibility with fellow writers and potential clients. For many people, that alone makes joining worth it.
Some of the most common organizations that freelancers join include (in no particular order):
- Society for Professional Journalists
- American Society of Journalists and Authors
- American Copy Editors Society
- Editorial Freelancers Association
- Authors Guild
- National Writers Union
- Freelancers Union
(Two examples: San Diego Professional Editors Network and the Austin Professional Chapter of the Association for Women in Communications/Freelance Austin.)
I'll talk a bit more later on about how to pick the right organization for you (hint: I wouldn't fork over the cash for every professional membership you can find—be selective!).
In the meantime, what organizations do you belong to? Do you benefit from your memberships? How did you choose which organizations to join?
Please share here!
Wednesday, February 10, 2010
Diversify, Diversify, Diversify
I keep my eyes peeled for freelance work on online job boards, through freelance writing newsletters, wherever I can find possible opportunities.
As usual, there are plenty of online writing opps out there—some worthwhile, some frighteningly underpaid and a bit shady. That's the nature of the game.
But I'm also seeing a lot more proofreading jobs than I used to. I wonder if this is partly because of the economy—more companies are handling writing in-house, but farming out proofreading to someone with fresh, experienced eyes.
Regardless of the reason, it reminds me that when writing jobs are tougher to come by and paying less than before, the freelancers who succeed often are the ones who diversify.
What services can you offer beyond your usual print or online article writing?
Proofreading and copy editing are key components of my freelance business. In fact, at certain times I find I do a lot more of this type of work than I do writing.
I realize, of course, that not everyone has the eye for detail and the grammatical skills needed to become a proofreader or copy editor. If you're interested in pursuing that type of work, however, why not take a class to bone up on your editing abilities? Now is a great time to find an online course or enroll in an editing class through community education or a local college.
The same goes for other areas. If you've dabbled in web or print design before, why not take some classes to improve your skill so you can offer basic design services along with writing? Interested in photography? Maybe now's the time to get serious about it.
I know freelancers who supplement their income by becoming prop stylists for photo shoots, creating craft projects that are featured in magazines (and sold on Etsy), and teaching at local colleges.
Get creative. What skills can you put to use?
As usual, there are plenty of online writing opps out there—some worthwhile, some frighteningly underpaid and a bit shady. That's the nature of the game.
But I'm also seeing a lot more proofreading jobs than I used to. I wonder if this is partly because of the economy—more companies are handling writing in-house, but farming out proofreading to someone with fresh, experienced eyes.
Regardless of the reason, it reminds me that when writing jobs are tougher to come by and paying less than before, the freelancers who succeed often are the ones who diversify.
What services can you offer beyond your usual print or online article writing?
Proofreading and copy editing are key components of my freelance business. In fact, at certain times I find I do a lot more of this type of work than I do writing.
I realize, of course, that not everyone has the eye for detail and the grammatical skills needed to become a proofreader or copy editor. If you're interested in pursuing that type of work, however, why not take a class to bone up on your editing abilities? Now is a great time to find an online course or enroll in an editing class through community education or a local college.
The same goes for other areas. If you've dabbled in web or print design before, why not take some classes to improve your skill so you can offer basic design services along with writing? Interested in photography? Maybe now's the time to get serious about it.
I know freelancers who supplement their income by becoming prop stylists for photo shoots, creating craft projects that are featured in magazines (and sold on Etsy), and teaching at local colleges.
Get creative. What skills can you put to use?
Tuesday, January 19, 2010
Setting Your Rates
When I first started freelance writing as an undergrad, I couldn’t believe how much I could make for an article. I was fortunate to have the chance to write for a large national consumer pub, and even though I was probably making the least of all of the magazine’s freelancers, it was good pay by my standards. I figured I could only go up from there.But then I realized that the rates a writer is paid vary considerably from publication to publication—particularly as you move from consumer pubs to custom, regional, local, or business magazines. It gets even trickier when you throw online writing and other forms of writing work into the mix.
There isn’t one set rate I get for my writing and there never will be.
So when I determine what’s reasonable pay, I take a number of things into account.
A while ago, I figured out what my ideal hourly rate would be—how much I need to get paid in order to make enough to pay my bills. It involved taking account of all of my business expenses, my personal expenses, how many hours I can actually bill (remember, you probably aren’t going to be billing a full 40 hours of work each week), and how much I hope to save after paying my expenses.
Handy sites online, such as the rate calculator at Freelance Switch, can help you figure all of this out in no time.
So then, each time a possible writing or editing project comes up, I keep my hourly rate in mind. I estimate how long I think each step in the process is going to take—background research, interviewing, writing, proofreading, communication with the editor, revisions if necessary—and divide the rate the editor has offered (if it’s a flat project fee) by the number of hours I estimate I’ll spend on it. If it’s close to or even more than my ideal hourly rate, I take on the project.
If that proposed fee is quite a bit lower than my hourly rate, I don’t shoot back a “no thanks” right away. As you know, times are tough, and rates for writing and editing work are getting lower and lower. So before I ditch the assignment, I consider whether there are places where I can trim back my time estimate. Can I keep the amount of time I spend researching or interviewing in check and still produce a quality article?
Other considerations come into play too. When the opportunity comes up to write for a publication I’ve been wanting to work with for years, odds are I’ll take on the gig even if it pays a bit less than my ideal (as long as the rate isn't ridiculously low). The same holds true if it’s an assignment for a topic I’m particularly passionate about.
Or, in the case of a writing gig that promises to offer consistent opportunities, I might sacrifice a bit on that ideal rate because getting regular work is worth it. (I write for almost every issue of one publication I started working for a couple of years ago, so the fact that I get such steady work makes up for the slightly lower rates.)
Besides, if the choice is between writing for a bit less pay than usual or having no writing work at all, I’m going to take on the job.
(One caveat about this: I will not go considerably lower than my ideal hourly rate, to the point where I am almost giving my work away for free, except for those instances where I volunteer my writing services to help out with a cause or publication I believe in, or when it helps build my writing business, as with my blogging. Writing mills and the ridiculously low rates they pay are a whole other topic I could spend many posts on, and perhaps I will someday. Suffice to say for now that I will not spend hours working on a project that brings in only a couple of dollars. In the meantime, if you want to learn more about why I don’t support writing mills, my writer-friend Kristine Meldrum Denholm has been posting on the topic recently and makes some great points.)
Then there are those times when a writing assignment comes with special stipulations—perhaps it's a rush job or it requires extra work that my usual writing assignments don't. In that case, I often will increase how much I am willing to take from the usual hourly rate, particularly if it means I'll be getting less sleep or won't have time to devote to other projects.
In other words, coming up with the ideal rate is an inexact science. But at least having that hourly number in mind ensures that I’m not taking on a project that isn’t worth my time.
How do you figure your hourly rate? How low are you willing to go? I’d love to hear your thoughts.
Learn More:
How Much Should I Charge (njcreatives)
How to Set Salary Goals (everyjoe.com)
Photo by Benediktv via Flickr
Monday, January 18, 2010
It's All About the Money, Honey
It’s mid-January. Odds are, if you’re like me, you’ve been doing some goal-setting and planning for the coming year and perhaps even thinking about tax time. It’s hard to do any of that without thinking money.Money is never far from a freelancer’s mind no matter the time of year. It’s what keeps us going. Money ensures we can pay our bills and live a comfortable life and do what we love. It’s a constant source of stress and worry and occasionally even excitement when a big check, or even a reasonably sized check, arrives.
That’s why, this week, I’m going to post a bit about money—specifically, about writers’ rates (tomorrow) and getting paid (on Thursday).
And, while we’re on the subject, I’d love to hear your thoughts on freelancing and money. What is the best part about the freelancer’s income? What stresses you out the most? Anything you’d like to hear more about? Let me know!
Photo by AMagill via Flickr
Monday, January 11, 2010
Hitting the Stacks
I’m busy pulling together a slew of queries this week. They stem from story ideas I’ve been jotting down in the past couple of months but haven’t had time to think about, and now I’m focused on getting proposals out the door within the next two weeks.Before the madness of the holidays hit, I began by brainstorming potential publications to pitch my ideas to. Once I narrowed down the list, I headed to the local library and spent time thumbing through past issues of the magazines.
I’m pitching to magazines I haven’t written for before, so this gave me a chance to familiarize myself with them. It also allowed me to keep an eye out for similar stories that may have been done before.
It was a smart move on my part. One of the topics I planned to pitch to a women’s publication had recently been covered—in a different way, but too similar to make publishing another feature on the topic already a possibility. So I went back to the drawing board with that one and thought up fresh ways to approach the topic and new publications to pitch to.
With others, looking through the magazines allowed me to note the appropriate editor to send the pitch to and helped me figure out possible word counts for features, what department the story might fit best in for front of book pieces, and the type of sources and tone the stories in each publication used.
When I left the library, I came away with a page of notes and the confidence that I was sending the right ideas to the right publications.
I know some people don’t believe in querying and others send pitches blind, without any research into the publication, confident their idea will fit even if they’re not totally familiar with the publication.
For me, however, spending the time to familiarize myself is worth it.
It may not ensure that I land every story assignment I propose, but it at least gets me one step closer to success.
And now it's time to get to work on those query letters.
Photo by eclecticlibrarian via Flickr.
Sunday, November 15, 2009
Mastering the Query Letter
You have a brilliant story idea. You’ve identified what you think is the perfect publication to pitch the story to. Now it’s time to write a query letter explaining the article you want to write, why it’s perfect for the publication, and why you should be the person to write it.
Writing a stellar query letter is key to landing a freelance assignment. If you can’t catch the editor’s interest with your opening lines and keep her reading until your signature, you don’t stand a chance. And with fewer editors on editorial staffs doing more work than ever before, you’d better make one heck of a first impression if you want to snag work with any publication.
Here’s how to write a query that gets results.
Make sure you’re pitching to the right place. It’s all about picking the right publication and making certain you’re proposing a story that fits that magazine.
If you try to propose a story about pointers for tackling fall yard care quickly and easily to a parenting magazine, busy editors (or their assistants) are going to toss your letter without a second glance. Obviously, you didn’t take the time to look at the types of articles the magazine typically publishes, and your lack of familiarity with the publication will show. If, however, you propose a story on easy ways parents can get their kids interested in and involved with fall chores outdoors by turning easy tasks into games, you may be onto something.
Get to the important stuff. Treat the opening sentences of your query letter like you would the opening lines of a story. Make them snappy, interesting, appealing, compelling. You want to hook the editor you’re writing to and get her to keep reading. Jump right in with an anecdote you’d use in the story, a startling fact or statistic, or a brief bit of description. Then, just as you would with a magazine article, quickly transition to the “hardworking” details—in other words, tell the editor exactly what the story is about, why you think it’s a great fit for the magazine, and more.
Be specific. Don’t just say you want to write an article about fall lawn care or moms with minivans and leave it at that. Give the editor details. Who will you interview? Include names. How long do you expect the story will be? Give an estimated word count. What form will the story take? Give a brief outline of how you see it progressing, and mention if it’s going to be presented in quick bullet-pointed tips or if it’s a long feature divided into subheads. If you think the story fits best in a certain department in the magazine, say so.
It all comes down to proving to your editor that you’ve thoroughly thought this through—and that you’ve done your homework on the types of sources, the length, and the format of other similar stories in her publication.
Tell a bit about yourself. As much as a query letter is about the story you’re pitching, it’s also about you and what makes you qualified to write the story. So once you’ve spent a paragraph or two on the story itself, talk about yourself. What qualifications do you have? What else have you written that you can mention to prove to them you’re a published writer who can pen the type of story you’re proposing?
If you’re a beginner, you might have limited experience to mention. Don’t shoot yourself in the foot by saying you’re new to the field or apologizing for your lack of experience. Just state what you have done and move on. If your idea is the perfect fit, the editor may be willing to overlook that you haven’t done much magazine writing yet.
If, on the other hand, you have a fair amount of experience, be selective about what you include. If I’m introducing myself to a “green” magazine, for instance, I’ll write about my passion for the environment and will focus on my experience working on other green publications, my educational background in environmental studies, and any other relevant info. Other experience that isn’t as relevant in this instance—such as small business writing—might be left out this time around.
Show some personality. Writing a formal letter that provides a basic rundown of the story, who you are, and what you do—and nothing else—won’t get you anywhere. This is your one shot, your first impression. You have to convince the person you’re sending this letter to that you’re interesting, that you’re reliable, that you’re a talented writer, that you’re everything they’ve ever wanted in a freelancer and more.
What are you going to say in the lede that’s witty, that’s intriguing, that will convince your reader that they have to keep going to learn more? Is there a turn of phrase or an aside you can insert into your second paragraph to give the person you’re writing to a glimpse of what you’re like or what you’re capable of? How will you close your letter to leave the reader wanting more?
This isn’t to say you should go over the top. But a well-crafted letter should leave a lasting (positive) impression on the reader. When you read back over your letter, does it bore you? Does your attention wander? Odds are, it’s going to bore the person you’re sending it to too.
Get the facts right. Make sure you know the proper format to send your query, whether it’s by email or snail mail. Check that you have the editor’s name right. If you use formal salutations like “Mr” or “Ms,” be darn sure you know that Pat Cameron really is a man. It just may be a woman, and if you start out with the wrong salutation you’re not going to earn any points in her book.
Keep it short. If you think an editor is going to take the time to read a five-page proposal for a 500-word story, you’re crazy.
As with the writing you hope to ultimately do for the magazine you’re querying, your letter should be written clearly and succinctly. Don’t waste words or ramble. Write well, make it interesting, but keep it brief. Unless you’re proposing a particularly in-depth, heavily researched feature, your query letter shouldn’t be longer than a page.
Proofread. Then proofread again. Once you’ve penned that letter, set it aside for a while—a day or two is ideal. Then come back to it with fresh eyes and read it closely. Set it aside. Repeat. Have a friend proofread it too if possible to catch errors you might have missed. That attention to detail matters, because rest assured that if you let a typo sneak in, it will jump out at the person reading your letter immediately.
Follow up. Your job isn’t finished just because you hit send or slapped a stamp on the envelope. Keep track of your queries, and when a reasonable amount of time has passed—say, a month—be prepared to follow up with a brief email or phone call. Sometimes that follow-up makes all the difference.
Writing a stellar query letter is key to landing a freelance assignment. If you can’t catch the editor’s interest with your opening lines and keep her reading until your signature, you don’t stand a chance. And with fewer editors on editorial staffs doing more work than ever before, you’d better make one heck of a first impression if you want to snag work with any publication.
Here’s how to write a query that gets results.
Make sure you’re pitching to the right place. It’s all about picking the right publication and making certain you’re proposing a story that fits that magazine.
If you try to propose a story about pointers for tackling fall yard care quickly and easily to a parenting magazine, busy editors (or their assistants) are going to toss your letter without a second glance. Obviously, you didn’t take the time to look at the types of articles the magazine typically publishes, and your lack of familiarity with the publication will show. If, however, you propose a story on easy ways parents can get their kids interested in and involved with fall chores outdoors by turning easy tasks into games, you may be onto something.
Get to the important stuff. Treat the opening sentences of your query letter like you would the opening lines of a story. Make them snappy, interesting, appealing, compelling. You want to hook the editor you’re writing to and get her to keep reading. Jump right in with an anecdote you’d use in the story, a startling fact or statistic, or a brief bit of description. Then, just as you would with a magazine article, quickly transition to the “hardworking” details—in other words, tell the editor exactly what the story is about, why you think it’s a great fit for the magazine, and more.
Be specific. Don’t just say you want to write an article about fall lawn care or moms with minivans and leave it at that. Give the editor details. Who will you interview? Include names. How long do you expect the story will be? Give an estimated word count. What form will the story take? Give a brief outline of how you see it progressing, and mention if it’s going to be presented in quick bullet-pointed tips or if it’s a long feature divided into subheads. If you think the story fits best in a certain department in the magazine, say so.
It all comes down to proving to your editor that you’ve thoroughly thought this through—and that you’ve done your homework on the types of sources, the length, and the format of other similar stories in her publication.
Tell a bit about yourself. As much as a query letter is about the story you’re pitching, it’s also about you and what makes you qualified to write the story. So once you’ve spent a paragraph or two on the story itself, talk about yourself. What qualifications do you have? What else have you written that you can mention to prove to them you’re a published writer who can pen the type of story you’re proposing?
If you’re a beginner, you might have limited experience to mention. Don’t shoot yourself in the foot by saying you’re new to the field or apologizing for your lack of experience. Just state what you have done and move on. If your idea is the perfect fit, the editor may be willing to overlook that you haven’t done much magazine writing yet.
If, on the other hand, you have a fair amount of experience, be selective about what you include. If I’m introducing myself to a “green” magazine, for instance, I’ll write about my passion for the environment and will focus on my experience working on other green publications, my educational background in environmental studies, and any other relevant info. Other experience that isn’t as relevant in this instance—such as small business writing—might be left out this time around.
Show some personality. Writing a formal letter that provides a basic rundown of the story, who you are, and what you do—and nothing else—won’t get you anywhere. This is your one shot, your first impression. You have to convince the person you’re sending this letter to that you’re interesting, that you’re reliable, that you’re a talented writer, that you’re everything they’ve ever wanted in a freelancer and more.
What are you going to say in the lede that’s witty, that’s intriguing, that will convince your reader that they have to keep going to learn more? Is there a turn of phrase or an aside you can insert into your second paragraph to give the person you’re writing to a glimpse of what you’re like or what you’re capable of? How will you close your letter to leave the reader wanting more?
This isn’t to say you should go over the top. But a well-crafted letter should leave a lasting (positive) impression on the reader. When you read back over your letter, does it bore you? Does your attention wander? Odds are, it’s going to bore the person you’re sending it to too.
Get the facts right. Make sure you know the proper format to send your query, whether it’s by email or snail mail. Check that you have the editor’s name right. If you use formal salutations like “Mr” or “Ms,” be darn sure you know that Pat Cameron really is a man. It just may be a woman, and if you start out with the wrong salutation you’re not going to earn any points in her book.
Keep it short. If you think an editor is going to take the time to read a five-page proposal for a 500-word story, you’re crazy.
As with the writing you hope to ultimately do for the magazine you’re querying, your letter should be written clearly and succinctly. Don’t waste words or ramble. Write well, make it interesting, but keep it brief. Unless you’re proposing a particularly in-depth, heavily researched feature, your query letter shouldn’t be longer than a page.
Proofread. Then proofread again. Once you’ve penned that letter, set it aside for a while—a day or two is ideal. Then come back to it with fresh eyes and read it closely. Set it aside. Repeat. Have a friend proofread it too if possible to catch errors you might have missed. That attention to detail matters, because rest assured that if you let a typo sneak in, it will jump out at the person reading your letter immediately.
Follow up. Your job isn’t finished just because you hit send or slapped a stamp on the envelope. Keep track of your queries, and when a reasonable amount of time has passed—say, a month—be prepared to follow up with a brief email or phone call. Sometimes that follow-up makes all the difference.
Thursday, August 20, 2009
Staying Sane
I'm sure you know the old cliche, "When it rains, it pours." Right now it's raining cats and dogs here—literally, because we've had some nasty rain storms (and tornadoes) in the area this week, but also figuratively, because suddenly I'm looking at my to-do list in alarm and wondering how I'm going to meet the deadlines I have in the next two weeks when I have a bunch of family visiting now through Monday morning and I start graduate classes again next Monday.
Don't get me wrong: I will meet my deadlines. Failure is not an option and when I make promises I'll do anything I can to fulfill them, even if it means forgoing sleep and ignoring my honey for a week or so. (Hopefully, he'll understand, when it means I'm actually contributing to the bills!)
And I'm not complaining, by any means. Any freelancer who has slow weeks (or months) knows better than to do that. I'm incredibly grateful for all of the work I have on my plate right now and am excited about all of it. It's a great mix of researching, writing, and editing on a variety of topics, which is just how I like it.
But you know how it is when things get way too busy, seemingly out of nowhere. All of a sudden it hits you just how much you have to do and how there most certainly can't be enough hours in the day. And then it's hard to breathe or think or even contemplate tackling the to-do list.
Then, after the initial panic, the only thing left to do is buckle down and get to work. That's all you can do. Well, that and these three steps designed to keep you sane when things get crazy.
1. Get organized. I can't stress enough the importance of staying organized when you're a freelancer. If you're juggling multiple projects, clients, and commitments at once, it's the only way to ensure you're on top of everything and able to focus on what really matters. I employ good old pen and paper to-do lists like it's my job—I have three different lists in front of me right now, actually.
Jot down everything you have to do. Now prioritize. Right now, my to-do list is organized by deadline. My goal is to work my way down it, one step at a time, crossing things off as I go. Just having those words in front of me that spell out exactly what I need to do right now help keep me focused and, hopefully, prevent me from staring off into space trying to remember what the heck I was going to do next.
2. Take some me time. Yes, even when you feel like you could work 25 hours of every day and still not get everything done, you need some downtime. Maybe it's just taking 20 minutes to pause and eat lunch in peace (read: no computer in front of you). Maybe it's going for a quick run or even—gasp!—bathing. You need time to take care of yourself. Otherwise you'll get to crunch time and be too exhausted to think. Or you'll be sick. Either way, you certainly won't be at your best, and if you're not at your best it's going to be pretty darn hard to turn in your best work.
3. Know when to drop a ball. When things get really tight, take a long, hard look at your to-do list. Will the world end if you don't clean the house this week? Probably not—so cross it off the list and worry about it later. Do you have so many paying projects right now that you can't possibly think about your personal blog (I admit, I'm about to be at that point, at least for a couple of days). It's hard to abandon your work, and you don't want to disappear for too long, but if you've built loyal readers they'll come back even if you're gone for a few days.
And the relief and knowing there's one less thing on your to-do list may be just what you need to keep going, to power through to the end, to find freelance success.
Don't get me wrong: I will meet my deadlines. Failure is not an option and when I make promises I'll do anything I can to fulfill them, even if it means forgoing sleep and ignoring my honey for a week or so. (Hopefully, he'll understand, when it means I'm actually contributing to the bills!)
And I'm not complaining, by any means. Any freelancer who has slow weeks (or months) knows better than to do that. I'm incredibly grateful for all of the work I have on my plate right now and am excited about all of it. It's a great mix of researching, writing, and editing on a variety of topics, which is just how I like it.
But you know how it is when things get way too busy, seemingly out of nowhere. All of a sudden it hits you just how much you have to do and how there most certainly can't be enough hours in the day. And then it's hard to breathe or think or even contemplate tackling the to-do list.
Then, after the initial panic, the only thing left to do is buckle down and get to work. That's all you can do. Well, that and these three steps designed to keep you sane when things get crazy.
1. Get organized. I can't stress enough the importance of staying organized when you're a freelancer. If you're juggling multiple projects, clients, and commitments at once, it's the only way to ensure you're on top of everything and able to focus on what really matters. I employ good old pen and paper to-do lists like it's my job—I have three different lists in front of me right now, actually.
Jot down everything you have to do. Now prioritize. Right now, my to-do list is organized by deadline. My goal is to work my way down it, one step at a time, crossing things off as I go. Just having those words in front of me that spell out exactly what I need to do right now help keep me focused and, hopefully, prevent me from staring off into space trying to remember what the heck I was going to do next.
2. Take some me time. Yes, even when you feel like you could work 25 hours of every day and still not get everything done, you need some downtime. Maybe it's just taking 20 minutes to pause and eat lunch in peace (read: no computer in front of you). Maybe it's going for a quick run or even—gasp!—bathing. You need time to take care of yourself. Otherwise you'll get to crunch time and be too exhausted to think. Or you'll be sick. Either way, you certainly won't be at your best, and if you're not at your best it's going to be pretty darn hard to turn in your best work.
3. Know when to drop a ball. When things get really tight, take a long, hard look at your to-do list. Will the world end if you don't clean the house this week? Probably not—so cross it off the list and worry about it later. Do you have so many paying projects right now that you can't possibly think about your personal blog (I admit, I'm about to be at that point, at least for a couple of days). It's hard to abandon your work, and you don't want to disappear for too long, but if you've built loyal readers they'll come back even if you're gone for a few days.
And the relief and knowing there's one less thing on your to-do list may be just what you need to keep going, to power through to the end, to find freelance success.
Thursday, August 6, 2009
Perfecting Your Elevator Pitch
When someone asks you what you do for a living, what do you say? It's a complicated question for me, and a response usually involves a lot of hemming and hawing before I mutter under my breath, "I'm a freelance writer." Then I wait for the next question, which is inevitable, and usually is some form of: "OK, but, what do you write?"
I'm not very good at describing what it is I do because it's complicated. My honey can say "I'm a lawyer" and everyone knows exactly what that means, although they may ask what kind of law he practices. But "freelance writer" is a fuzzy term, one that isn't clear-cut, and that isn't familiar to many people.
It could mean I write magazine articles, newspaper articles, blog posts, website content, advertising copy, short stories, novels. It could mean I'm simply unemployed and sit in my bedroom penning terrible poems that I won't share with anyone (although, fortunately, that's not the case). It means a lot of things to a lot of people and nothing to most—in other words, it requires clarification.
Yet most of the time I end up passing along some vague description and changing the subject, because I'd rather not talk about myself for that long and figure the person asking is being nice and doesn't really care anyway.
But, I'm beginning to realize, that's not what a savvy freelancer should do. Even if you're meeting some random acquaintance at a party or are being introduced to someone in the park, you have an opportunity. You have the chance to promote what you do, to pique interest in your work.
Perhaps the person you're speaking to will simply have a better grasp of—and, likely, an appreciation for—what you do. Maybe you'll have scored another reader for your personal blog. Or, you never know, that person may file what you said away in their mind and later, when they overhear someone talking about the need for a stellar writer, your name will come up.
And that, my friends, is why you don't brush off career questions or mumble responses under your breath. Be specific, be confident, and explain exactly what you do to anyone who asks.
Often called "the elevator pitch," it's a brief description of your job, your business, or a service you offer. The premise is this: If you're stuck in an elevator with the CEO of a major company (or anyone, for that matter), what could you say in the span of that elevator ride to explain yourself and your skills (and, potentially, to land a job)?
In the process of creating my own spiel, I've discovered that the best elevator pitches are:
Interesting. I have 30 to 60 seconds to hook this person's attention and that's it. So I need to draw them in right away. Think of it as your lede—what can you say first thing to get your listener interested in your pitch?
Specific. There's no time to waste rambling on when it comes to an elevator pitch. Stick to clear, concise, active words so you can say as much as possible as briefly as possible.
Customized. Who are you talking to and what will interest them most? If you're speaking with an entrepreneur, play up the writing you've done for small business pubs or the copywriting project you just finished for a local company. If you're chatting with a dietitian, mention the series of nutrition articles you recently wrote for a parenting website.
Passionate. If you're not excited about what you do, why would anyone else care? There's no need to go over the top here, but the enthusiasm you show for your work may rub off on the person you're speaking to.
Actionable. Hand over a business card with your contact info and web address. Scribble down the address to a blog you write that you think the person you're speaking to might like. Ask if you can follow-up with an email explaining a bit more about what you do. Inquire as to whether the person you're speaking to knows anyone who's looking for a talented writer. You never know where your pitch might lead if you ask.
Ready to write your own elevator pitch? Check out a real-life elevator pitch, then share yours here.
Learn More
The Art of the Elevator Pitch (Business Know-How)
Elevator Pitch 101 (Chris O'Leary)
Crafting an Effective Elevator Pitch [slideshow] (BusinessWeek)
Is Your Elevator Pitch a Home Run? (FreelanceFolder)
Photo: serakatie
Thursday, July 30, 2009
Why I Use Twitter
When it comes to sites like Facebook, MySpace, Twitter, and the like, I have long been a reluctant participant. Most of my friends were hooked on social networking sites in college. I, on the other hand, refused to even sign up for a Facebook account until almost a year out of college, when they held me at gunpoint and made me sign up. (OK, I lied about the gun part, but they sure did hound me a lot.)
I was slow to hop onto the LinkedIn bandwagon too. And Twitter? A lot of my friends were tweeting away and I still didn't even really understand what the heck it was.
Recently, however, I've changed my tune about social media—particularly Twitter. Why? Because I'm figuring out how to use it and, in the process, am discovering that it's a great way to promote myself and my freelance work.
If you use Twitter right, it really can boost your freelance business. Here's how:
Snag sources. If you're writing an article and want to find someone who's passionate or knowledgeable about a given topic, Twitter is a great place to look for sources. Search for common words or phrases related to the subject matter you're writing about (the more specific, the better), and after you weed through some junk, you just may find a gem of a source.
Discover story ideas. By following newsmakers, media types, and just plain interesting folks, you can learn a lot about what's going on in the world. What topics do people keep coming back to? Anything particularly random that folks seem to be responding to? Not every tweet is newsworthy, but a lot of messages people post on Twitter contain nuggets that, with the right moves, can be shaped into stellar story ideas.
Connect with other freelancers. Freelancing can be a lonely life, and it helps to have a network of others in the same boat. Some of my favorite people on Twitter are writers or freelance creative types just like me. Following along with their trials, tribulations, and random rants on Twitter is interesting, inspiring, and comforting, because I realize I'm not alone.
Make contact with potential clients. If publications or companies you want to write or work for have Twitter accounts, are you following them? Keeping up with what interests them gives you an in, and you may even hear about opportunities to work with them through their Twitter accounts. Case in point: I just landed a gig blogging for one of my favorite publications, Natural Home magazine, because they sent out a call for bloggers on Twitter and I responded. Really. It's that easy.
Promote what you do. When I land a freelance writing gig or finish a project, I'm excited. I want to share that excitement, so I often tweet about what I'm doing or have done. It's a great way to share with friends and family who follow me, and it shows other folks that I'm busy, that I'm productive, that I'm the sort of person they want to work with. (At least, I hope!)
Land work without even trying. If you're an interesting creature (and I'm sure you are), just being your most creative, professional, engaging self through those 140 characters on Twitter may lead to work opportunities. If potential clients search for your name, see a link to your Twitter account, and like what they see on your Twitter page, they may call you up. Seriously.
Of course, the aforementioned scenario can also have the exact opposite effect if you're not careful. Twitter has its drawbacks—two of the most commonly mentioned are the fact it can be a real time-suck (or a great procrastination tool, depending on how you choose to look at things) and that people post really stupid stuff online. Insanely stupid.
Much has been written about how to use Twitter effectively, how not to look asinine. I say it comes down to commonsense. Don't post things you wouldn't want your grandmother to read. Don't post things that reflect poorly on you as a professional (even if it is your personal account). And whatever you do: Don't post things you shouldn't about someone you're working with or for or hope to work with or for in the future. That means "I hope I never work with someone like Client X again" is not going to fly. Nor is "Too hungover to work today. Going to sit on the couch and watch soaps instead."
You know what? If you're going to do that, fine. But odds are sometime in the future a potential client will search for your name online and find that random Tweet and it will reflect poorly on you. And I'm pretty sure that's just not worth it.
For this exact reason, some people believe business and personal tweets should be confined to separate accounts. I'm OK with mixing business with personal within reason, particularly if you're a generalist like me. I write about the things I'm passionate about, so if I'm doing something that I'm passionate about—gardening, cooking, doing yoga, what have you—I'll tweet about it occasionally, even if it doesn't directly relate to my work. If you look back at my messages on Twitter, you can get a pretty good idea of who I am and what I'm into. And that has helped me snag writing gigs, because then people know I really am into what I propose to write about. Or, if a potential client is looking for someone who's interested in a specific topic, like compost, they may come across my Tweets on the topic, see that I'm a writer, and there you have it. I'm in.
How else do you use Twitter? Or do you avoid it like the plague—and, if so, why? Do share!
Learn More
Embracing Social Media as a Job Search Tool (freelancewritinggigs)
Twitter Benefits for Freelance Writers (Quips and Tips for Successful Writers)
Putting Twitter to Work for Your Freelance Writing Business (Freelance Switch)
Twitter: The Freelance Writer's New Best Friend Parts One and Two (Thursday Bram)
I was slow to hop onto the LinkedIn bandwagon too. And Twitter? A lot of my friends were tweeting away and I still didn't even really understand what the heck it was.
Recently, however, I've changed my tune about social media—particularly Twitter. Why? Because I'm figuring out how to use it and, in the process, am discovering that it's a great way to promote myself and my freelance work.
If you use Twitter right, it really can boost your freelance business. Here's how:
Snag sources. If you're writing an article and want to find someone who's passionate or knowledgeable about a given topic, Twitter is a great place to look for sources. Search for common words or phrases related to the subject matter you're writing about (the more specific, the better), and after you weed through some junk, you just may find a gem of a source.
Discover story ideas. By following newsmakers, media types, and just plain interesting folks, you can learn a lot about what's going on in the world. What topics do people keep coming back to? Anything particularly random that folks seem to be responding to? Not every tweet is newsworthy, but a lot of messages people post on Twitter contain nuggets that, with the right moves, can be shaped into stellar story ideas.
Connect with other freelancers. Freelancing can be a lonely life, and it helps to have a network of others in the same boat. Some of my favorite people on Twitter are writers or freelance creative types just like me. Following along with their trials, tribulations, and random rants on Twitter is interesting, inspiring, and comforting, because I realize I'm not alone.
Make contact with potential clients. If publications or companies you want to write or work for have Twitter accounts, are you following them? Keeping up with what interests them gives you an in, and you may even hear about opportunities to work with them through their Twitter accounts. Case in point: I just landed a gig blogging for one of my favorite publications, Natural Home magazine, because they sent out a call for bloggers on Twitter and I responded. Really. It's that easy.
Promote what you do. When I land a freelance writing gig or finish a project, I'm excited. I want to share that excitement, so I often tweet about what I'm doing or have done. It's a great way to share with friends and family who follow me, and it shows other folks that I'm busy, that I'm productive, that I'm the sort of person they want to work with. (At least, I hope!)
Land work without even trying. If you're an interesting creature (and I'm sure you are), just being your most creative, professional, engaging self through those 140 characters on Twitter may lead to work opportunities. If potential clients search for your name, see a link to your Twitter account, and like what they see on your Twitter page, they may call you up. Seriously.
Of course, the aforementioned scenario can also have the exact opposite effect if you're not careful. Twitter has its drawbacks—two of the most commonly mentioned are the fact it can be a real time-suck (or a great procrastination tool, depending on how you choose to look at things) and that people post really stupid stuff online. Insanely stupid.
Much has been written about how to use Twitter effectively, how not to look asinine. I say it comes down to commonsense. Don't post things you wouldn't want your grandmother to read. Don't post things that reflect poorly on you as a professional (even if it is your personal account). And whatever you do: Don't post things you shouldn't about someone you're working with or for or hope to work with or for in the future. That means "I hope I never work with someone like Client X again" is not going to fly. Nor is "Too hungover to work today. Going to sit on the couch and watch soaps instead."
You know what? If you're going to do that, fine. But odds are sometime in the future a potential client will search for your name online and find that random Tweet and it will reflect poorly on you. And I'm pretty sure that's just not worth it.
For this exact reason, some people believe business and personal tweets should be confined to separate accounts. I'm OK with mixing business with personal within reason, particularly if you're a generalist like me. I write about the things I'm passionate about, so if I'm doing something that I'm passionate about—gardening, cooking, doing yoga, what have you—I'll tweet about it occasionally, even if it doesn't directly relate to my work. If you look back at my messages on Twitter, you can get a pretty good idea of who I am and what I'm into. And that has helped me snag writing gigs, because then people know I really am into what I propose to write about. Or, if a potential client is looking for someone who's interested in a specific topic, like compost, they may come across my Tweets on the topic, see that I'm a writer, and there you have it. I'm in.
How else do you use Twitter? Or do you avoid it like the plague—and, if so, why? Do share!
Learn More
Embracing Social Media as a Job Search Tool (freelancewritinggigs)
Twitter Benefits for Freelance Writers (Quips and Tips for Successful Writers)
Putting Twitter to Work for Your Freelance Writing Business (Freelance Switch)
Twitter: The Freelance Writer's New Best Friend Parts One and Two (Thursday Bram)
Monday, July 27, 2009
Freelance Resource Monday: Seeking Expert Sources
Odds are, if you've written many freelance articles, at some point in your life you've gotten to the point where you just can't find the right source. Or you think you've found the right source, but you don't hear back from them and don't they know you're on deadline?
When you are in a crunch and need a source ASAP there are a number of resources you can rely on to help you find exactly what you're looking for.
Three to try:
HARO: If you're looking for sources, all you do is fill out a simple form on the Help a Reporter Out website. You explain who you are, what sort of source you're looking for, and what your deadline is, and your request goes out in an email digest with other requests to anyone who has signed up for the free service. Then, anyone who thinks they can help will get in touch and voila! you're off and running.
Bridge to Science: This relatively new service connects writers, reporters, and bloggers with researchers, scientists, and other experts—many of whom are from universities and research institutions including Harvard, Yale, Standford, and more. As with HARO, all you do is fill out a request a source form and your information is sent out in a daily email with other requests, so experts will contact you and pitch their take on the topic (for free).
ProfNet: According to its website, ProfNet is an online community of nearly 27,000 corporate, university, and other communicators—in other words, it offers a whole lot of potential expert sources to any writer who's game. Once you register for an account, you can browse expert profiles or query for specific sources, and you can manage all of your responses right in your ProfNet account.
What other resources do you use for tracking down expert sources last-minute? Share here!
When you are in a crunch and need a source ASAP there are a number of resources you can rely on to help you find exactly what you're looking for.
Three to try:
HARO: If you're looking for sources, all you do is fill out a simple form on the Help a Reporter Out website. You explain who you are, what sort of source you're looking for, and what your deadline is, and your request goes out in an email digest with other requests to anyone who has signed up for the free service. Then, anyone who thinks they can help will get in touch and voila! you're off and running.
Bridge to Science: This relatively new service connects writers, reporters, and bloggers with researchers, scientists, and other experts—many of whom are from universities and research institutions including Harvard, Yale, Standford, and more. As with HARO, all you do is fill out a request a source form and your information is sent out in a daily email with other requests, so experts will contact you and pitch their take on the topic (for free).
ProfNet: According to its website, ProfNet is an online community of nearly 27,000 corporate, university, and other communicators—in other words, it offers a whole lot of potential expert sources to any writer who's game. Once you register for an account, you can browse expert profiles or query for specific sources, and you can manage all of your responses right in your ProfNet account.
What other resources do you use for tracking down expert sources last-minute? Share here!
Wednesday, July 22, 2009
Making Rain
Two weeks ago I was frazzled. I was overwhelmed precisely because my work life was underwhelmed. I was starting to feel the pinch from my second month without a real, steady paycheck. I wasn’t getting responses to my freelance job applications and LOIs. In other words, I was starting to question the sanity of leaping into the freelance life. I was starting to question myself and my abilities. Maybe my resume wasn’t impressive enough. Maybe I didn’t say the right things in those emails.Maybe, maybe, maybe.
And then, just like that, last week I was busy. Really busy. I was writing like a maniac on a cover story for one of my go-to publications. I was proofreading an entire issue of an annual baking magazine. (Let’s not even talk about how desperately it had me craving sweets all week.) I was finally getting some media coverage for the online travel magazine I created (it’s called Illinois Adventures, and you can check it out here if you’re so inclined), which meant I was feeling the pressure to add more event listings and write more articles to post online.
At the same time, I managed to engage some fellow freelance writers in a conversation—online, in the comments section of this Renegade Writer post, as well as through email with some writers who stumbled upon my blog. The general consensus was: Wow, it’s a tough time to be a freelancer. We’re in drought. We’re scared. When is it going to pass?
During a week when I actually felt pretty good about where things were, it humbled me and brought me back down to earth. It reminded me that the freelance life is fickle—one week it pours, the next you’re desperate for one little raindrop.
Being incredibly busy often makes you wish you weren’t quite so much, makes you wish you had time to breathe. But last week, I tried not to think like that, knowing full well this week I could end up desperately seeking any writing gig or proofreading assignment I could find and not land a single one.
Last Friday, once I wrapped up the feature and sent off the last of the proofread layouts, I breathed a tentative sigh of relief that I was done, then looked to the sky. I wondered if it was time for another drought, if my momentary good luck would fail me.
And then another giant raindrop fell squarely on top of my head, in the form of an email asking if I’d be interested in serving as an editor for an annual publication produced by a company I have a connection with. And then—through Twitter!—I landed a blogging gig with one of my favorite magazines. And yesterday? I scored an assignment writing an article for the print edition of that same magazine. I wish I could say it’s just happy coincidence, luck. Perhaps it is, a bit.
But you want to know what I’m beginning to think the real secret is to avoiding a drought?
Putting yourself out there. The reason I scored that editing gig? I read about it in a newsletter I received, had an “in,” and jumped at the opportunity to let that connection know I was just the sort of person they were looking for. The reason I got that blogging gig is because I responded immediately, enthusiastically, to the Tweet that mentioned it. And the reason I got that article assignment? Because I followed up—multiple times—after sending a detailed query. See? When it comes down to it, sometimes it’s not luck at all. Sometimes you can make your own rain.
As a freelancer, you determine your own success. You make your own luck. Sure, there are plenty of things beyond your control: shrinking magazine budgets, publications folding or keeping work in-house, writers who take on painfully low compensation that drives down rates for the entire industry. But there’s a lot you do control: how many freelance jobs you apply for, how often you send out queries and follow up, the steps you take to market yourself online.
My challenge to you: focus on the positive, focus on what you can do. And then, when you have that “up” week soon, share your success. I’ll gladly help you celebrate.
Photo: konomike
Monday, July 20, 2009
Freelance Resource Monday: Alltop
I thought about listing a terrific freelance writing blog for this week's Freelance Resource Monday. I mulled over which of the top blogs on the subject I might feature. Then I contemplated any number of lesser-known, but still incredibly helpful, options too. But I just couldn't decide. So I picked Alltop.
If that makes it sound like Alltop was a fallback, a desperate pick when I couldn't choose among the best, it's not meant to come off that way. It's just that if you want to stay up-to-date with news and blog posts on a specific subject, Alltop is your ultimate resource. So when I couldn't pick one freelancing blog, I decided to point you to a source where you can look at a whole bunch of them at once.
That's because, as the name implies, Alltop features all the top stories (or all topics, all the time, as the tagline goes).
Essentially, it works like this: The folks at Alltop collect the headlines of the latest stories from the best sites and blogs on a given topic. These collections (called "aggregations") are then posted on individual web pages sorted by topic, so you can view the five most recent headlines from each source (as well as their first paragraph if you leave your cursor on the headline).
The folks at Alltop liken their (free) service to an "online magazine rack." In other words, it provides an accessible way to get informed, to read about subjects that interest you, and—here's the real value for freelancers—to mine certain subject areas for potential story ideas you can pitch.
If you're still not sure about Alltop, there's no time like now to explore. You can search for subjects by category or alphabetically. As a freelancer, you might be interested in small business, writing, technical writing, and, of course, freelance. Hoping to find some ideas for a pet publication? Try pets. Looking for fitness ideas? There's yoga, fitness, and more. Heck, there's even a category just about Wal-Mart.
Create an account at Alltop to make a personal collection of the blogs and websites you want to keep up with daily. Or just view the personal Alltop pages of a slew sort-of famous and famous folks (including a ton of terrific bloggers and writers). You're bound to find something there that's fodder for your writer's mind.
If that makes it sound like Alltop was a fallback, a desperate pick when I couldn't choose among the best, it's not meant to come off that way. It's just that if you want to stay up-to-date with news and blog posts on a specific subject, Alltop is your ultimate resource. So when I couldn't pick one freelancing blog, I decided to point you to a source where you can look at a whole bunch of them at once.
That's because, as the name implies, Alltop features all the top stories (or all topics, all the time, as the tagline goes).
Essentially, it works like this: The folks at Alltop collect the headlines of the latest stories from the best sites and blogs on a given topic. These collections (called "aggregations") are then posted on individual web pages sorted by topic, so you can view the five most recent headlines from each source (as well as their first paragraph if you leave your cursor on the headline).
The folks at Alltop liken their (free) service to an "online magazine rack." In other words, it provides an accessible way to get informed, to read about subjects that interest you, and—here's the real value for freelancers—to mine certain subject areas for potential story ideas you can pitch.
If you're still not sure about Alltop, there's no time like now to explore. You can search for subjects by category or alphabetically. As a freelancer, you might be interested in small business, writing, technical writing, and, of course, freelance. Hoping to find some ideas for a pet publication? Try pets. Looking for fitness ideas? There's yoga, fitness, and more. Heck, there's even a category just about Wal-Mart.
Create an account at Alltop to make a personal collection of the blogs and websites you want to keep up with daily. Or just view the personal Alltop pages of a slew sort-of famous and famous folks (including a ton of terrific bloggers and writers). You're bound to find something there that's fodder for your writer's mind.
Monday, July 13, 2009
Freelance Resource Monday: Newswise
Magazines are great sources for story ideas. So are newspapers. And blogs. And everyday life experiences. But sometimes it helps to have a little extra information, to have ideas coming in straight from the mouth of researchers, academic institutions, and other trustworthy sources.
That's why I registered for Newswise a few years ago and regularly rely on its website and newsletters for story ideas. And that's why Newswise is this week's freelance resource.
Newswise maintains a massive database of current news, searchable archives, and subscription wire services to help you stay on top of research-based news. I often use its search function to find information on a specific topic. And, a couple of times a week, I receive email newsletters that fill me in on the week's highlights in categories such as science, medicine, lifestyle, green living, and more.
Perhaps best of all, the current news provided on Newswise come straight from press releases sent out by universities, colleges, laboratories, professional organizations, governmental agencies, and private research groups. Along with the basic info, you'll find contact information for sources, so you have everything you need to hit the ground running once you pitch your story idea and get assigned an article.
That's why I registered for Newswise a few years ago and regularly rely on its website and newsletters for story ideas. And that's why Newswise is this week's freelance resource.
Newswise maintains a massive database of current news, searchable archives, and subscription wire services to help you stay on top of research-based news. I often use its search function to find information on a specific topic. And, a couple of times a week, I receive email newsletters that fill me in on the week's highlights in categories such as science, medicine, lifestyle, green living, and more.
Perhaps best of all, the current news provided on Newswise come straight from press releases sent out by universities, colleges, laboratories, professional organizations, governmental agencies, and private research groups. Along with the basic info, you'll find contact information for sources, so you have everything you need to hit the ground running once you pitch your story idea and get assigned an article.
Thursday, July 9, 2009
Magazine Love
I am now and forever will be a lover of magazines. I horde them. I subscribe to way too many (that pile up in my office because I can’t find time to read them all cover to cover like I want to do). And I’m always finding new publications I want to try out too. It’s an addiction, really. I’ll admit it.Some are old stand-bys. For years, I’ve subscribed to Utne Reader. Yoga Journal. Real Simple. National Geographic Traveler. Natural Home. Better Homes & Gardens. These are my old standbys, the publications I can’t live without, that I dive into with excitement each time they arrive.
Each year, I seem to add a few new ones to the list. I used to steal my mom’s copies of Sunset every time I was home. Now I finally have my own subscription. After a childhood of reading Natural Geographic, I’m now a member myself. Speaking of membership magazines, I get Sierra and Nature Conservancy. I love Readymade. And Pink. I read Folio. Ode is terrific too.
Of course, each year that I add to my list, I also have to subtract a magazine or two from it. In high school, I used to read Sports Illustrated from cover to cover. Now I look at it infrequently, only when a cover at the newsstand catches my eye. Same with Newsweek. I read Wired for a while but let that subscription lapse. That’s what happened with Health too, which was a long-time favorite that got neglected a few years ago.
Plus there are those magazines that disappear of their own accord. I lost my beloved Jane. And The Green Guide. I enjoyed Country Home. I know there are many more that have disappeared, but thinking about failed publications is sad so I'm not going to dwell on that much-too-long list.
Now I’m thinking of subscribing to Mother Jones. Discover. Science. See my priorities shifting?
The only problem is, when the heck will I read them all?
I also picked up the new issue of Food Network Magazine at the grocery store yesterday, after looking for it for weeks. And there are a couple of natural, healthy living magazines I haven’t seen before I might have to flip through.
See? It’s an addiction.
But, and this is the beauty of the freelance writing life, all of these magazines are also part of work. I may savor them with a glass of lemonade on the weekend or read them while on the elliptical at the gym. But anytime I read magazines, I’m thinking of story ideas. I’m thinking of topics I might pitch to the magazines I’m reading and to other publications too. Magazines are fun to read, but they’re also resources. Inspiration.
At least that’s how I justify my addiction.
What magazines are on your must-read list? I’m always looking for new publications to explore, so I’d love to hear what you can’t live without.
Tuesday, July 7, 2009
Are You Ready to Make the Leap? (Part 6)
Finally! It’s time for the last sign in the “Are you ready to make the leap?” series, designed to help you figure out if you’re really ready to move from freelancing on the side to pursuing a freelance career full-time. But first, let’s revisit the first five signs:1. You’re restless.
2. You’re looking for flexibility.
3. You have the right personality.
4. You have steady work.
5. You have a financial cushion.
And now for number six.
6. Your gut is telling you to go. Trust your instincts. When you think about freelancing, about quitting your job and making a go of being your own boss, how do you feel?
Do you feel an adrenaline rush? Do you get excited thinking about the possibilities? Do you itch to get started immediately?
Or does your stomach twist into knots because the idea is so nerve-wracking? Do you break out into a cold sweat and stress about a slew of what-ifs? Some nerves are OK—they’re good, in fact. They’ll keep you grounded and ensure you’re thinking realistically about what you’re about to do. Because let's be honest: it is scary.
But if the thought of quitting now leaves you on the verge of a nervous breakdown, perhaps it’s time to take a step back. Think things through more. Wait a while.
It should come as no surprise when I tell you that this isn’t exactly the most cush time to make the leap into freelancing full-time. People are getting laid off. Budgets that normally would include funding for freelance projects are getting slashed. Magazines and companies that used to be great sources of freelance work are folding all over the place. So if you’re not ready—really ready—it’s OK to wait. You don’t want to jump into freelancing a nervous wreck. You want to be cool, confident, ready to take on the world.
And if all you can think about is the fact that freelancing feels right, that you’re ready? Then assess your financial situation, your work situation, whatever else you need to think about.
Still have that feeling?
Ready, set, jump.
Photo: ClickFlashPhotos
Monday, July 6, 2009
Freelance Resource Monday: Writer's Market
When I was in college, I used to spend hours at the bookstore leafing through a copy of the Writer's Market, on the hunt for listings for publications I wanted to write for. Now in its 88th edition, the Writer's Market is the ultimate resource for finding book publishers, agents, and paying markets for magazines, journals, and other fiction and nonfiction markets.I don't bother going to the bookstore or lugging around a giant book when I need my Writer's Market fix anymore, however. I just go online to WritersMarket.com, this week's Julie Tries Writing freelance resource. For a one-year subscription of $39.99, you'll gain access to more than 6,000 market listing and contacts that are updated each day (so you can ensure you're not getting old info, which you always risk when purchasing the book). A search engine makes finding the market you're looking for easy, and you can even mark your favorites so they're easy to find later. A tracking program allows you to set reminders so you know when to follow up on manuscript submissions, too.
Another benefit of the Writer's Market website: access to industry news, agent Q&As, rate charts, and archives on writing advice from editors, agents, and writers in the know.
There are plenty of free sources of editorial information available online (or in the library), but if you're serious about seeking out specific sources to pitch stories to, joining WritersMarket.com may be worth it.
If you're not sure, start with a free 7-day trial. Or if you're in the middle of a marketing blitz, sign up for a $5.99/month subscription to get full access to the database for a quick dose of info.
Even if you don't sign up for the service, you can sign up for the free newsletter, which offers a preview of writing markets and writing inspiration.
Friday, July 3, 2009
Holiday Work
As a freelancer, do you keep holidays sacred and take them off? Or do you sneak in a few hours of work—or even a full day—while a good portion of the rest of the country is relaxing?
I'm working most of today, even though a lot of folks have July 3 off. And odds are I'll put in an hour or two tomorrow. But other than that, I'm trying to treat the weekend like what it is: a holiday. Otherwise, it's too tempting to log freelance hours like I do most weekends. And then, suddenly, I hit a wall and realize it's because I never give myself a break.
Besides, emails I send and stories I pitch will be ignored until Monday or Tuesday anyway. So what's the work rush? Better to enjoy the Fourth of July fun while it lasts.
I hope you do, too.
I'm working most of today, even though a lot of folks have July 3 off. And odds are I'll put in an hour or two tomorrow. But other than that, I'm trying to treat the weekend like what it is: a holiday. Otherwise, it's too tempting to log freelance hours like I do most weekends. And then, suddenly, I hit a wall and realize it's because I never give myself a break.
Besides, emails I send and stories I pitch will be ignored until Monday or Tuesday anyway. So what's the work rush? Better to enjoy the Fourth of July fun while it lasts.
I hope you do, too.
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