The Writing Coach Blog

Three Overlooked Ways to Find New Clients

by Loren Pritchett

It can be tough to build a stable of clients when you begin your writing career, and it's not easy to sustain one, either. Figuring out where and how to sell stories is the first step ... and the next one and the next one. The following tips offer a fresh take on a recurring challenge.

Tap Alumni Networks
Join your alumni association to find new clients and receive job posts through their listservs. Most alumni groups allow users to post resumes, company information, and career opportunities. Once you have identified a potential client, make contact (be sure to reference your connection with the alumni network), highlight your experience, and express interest in working with them.

Bonnie Newman Davis, a Richmond-based freelance writer, nabbed writing work with the National Urban League through a fellow alumna. "I landed this opportunity from having worked with the NUL's director of public relations, who happened to be a graduate of my alma mater," she said. "I recall mentioning that I'd love to work for the NUL. Next thing I know, I had the assignment."

Leverage Social Networks
As more Americans log onto social-networking sites, freelance writers can obtain significant exposure by putting professional profiles and work samples online.

LinkedIn.com allows users to post a summary of their skills, education and experience -- and connect with like-minded professionals. A LinkedIn profile can help you rub virtual elbows with other writers, collaborate on story ideas, and find jobs. What's more: By reinforcing your ties with existing colleagues, you can increase your chances of being noticed and contacted by new editors.

Facebook.com, albeit more focused on users' interests and hobbies than their careers, lets users add previous clients as "friends." Some freelancers use it to stay in touch with their colleagues and provide updates on current assignments. Facebook also allows you to post paid ads that can help attract new clients.

New York-based writer Iyna Bort Caruso, a two-time New York Emmy Award Winner, has found the most success with Twitter.com, where users "tweet" updates to those who follow their profile. "For my purposes, Twitter has the most potential. I use it to promote my work, but I also use it to share my expertise. Eighty to ninety percent of my tweets are writing-related," she said. "So I think it is important to maintain focus if you're using social networking for professional purposes."

Caruso encourages writers to try to stand out in the crowd by tweeting about their specialties, credits and versatility. Her recent tweets offer advice on getting the most out of an upcoming American Society of Journalists and Authors (ASJA) convention, let followers know she's taking an InDesign course, and that a productive week for her includes writing seven 30-second cable spots, completing two articles and pitching a new book idea. “Tweeting about the projects I'm working on and linking to select articles I've written gives me a chance to showcase my work," she explained. "I also think editors and book publishers will increasingly seek writers with large social networking platforms for cross-promotional purposes." When Caruso posts a link to a story she has written for a publication, her followers drive more traffic to its Web site, she said.

Caruso also recommends following the Twitter feeds of editors from the publications that you like. This will give you a better grasp of what kinds of stories they run. "You can better target your queries," Caruso said. Following others will also help you keep an eye out for hot topics and conversations--gossip, commentary and opinions may make good story ideas.

Be Active in Professional Organizations
Join professional organizations to narrow your focus and zero in on industry professionals. Groups like the Society of Professional Journalists, National Press Club and the Society of American Business Editors and Writers host conferences, online courses, industry events and discussion boards--all of which enable networking.

Although mere membership in a professional organization can bolster your resume, Davis stressed the importance of getting involved. "I can't say enough about the benefits of being active in--as opposed to simply belonging to or being a member of--a professional journalism organization. You will gain nothing by just paying your dues and attending a meeting every now and then. You have to take ownership and be involved."

One way to be involved is to attend the conferences and courses it offers throughout the year. You'll likely not only learn new skills, but also meet new people. Seize the opportunity to introduce yourself to editors you've already pitched or would like to work with in the future. This is your chance to make a good first impression, one that puts a face on your e-mail correspondence.

Caruso said she frequently makes connections at industry events. "If I look at my regular clients, I can see that many came through referrals, so I'd have to say that belonging to professional writers' associations and networking with other freelancers has been my most effective strategy."

 

 

 

Writing Coach PRO FAQs

For the past two weeks, I've been interviewing freelancers who'd like to participate in Writing Coach PRO, a group coaching program that starts Feb. 15. I'm truly impressed and inspired by their stories--not just the ones that they've penned for publication, but their personal tales of how they've navigated tough economic times. They shared the triumphs and setbacks they've experienced while working amid media industry consolidation, declining pay rates and other editorial changes. Despite the turmoil, they all expressed confidence in their potential for long-term freelance success.
 
In response, I shared my vision for the way forward: a small community of skilled writers working together to implement proven business strategies and hold one another accountable for taking action. Today I invite you to join our circle and commit to taking your freelance business to the next level. Only 15 spots remain.
 
Want more information? Check out the frequently asked questions below or visit www.writingcoach.com/gopro for details. Or, if you're ready to go PRO now, e-mail margaret@writingcoach.com to set up a time to chat with me. I look forward to hearing your stories!

Why is this program six months long?
Writing Coach PRO is designed to help writers transform their businesses. This takes time, support and accountability--something that shorter programs don't provide. Upgrading your Web site, honing your business sense, building a support team and getting your finances in order simply can't be done in a couple of days or weeks. I'm committed to seeing you through and will only work with writers who are dedicated to building their success over the long haul.
 
Why is the price so low?
I know that many freelancers are struggling right now to cope with declining pay rates and publication closures. I wanted to offer a high-quality course that was accessible and affordable. My research shows that $97/month achieves both: You get expert materials for a bargain price.
 
How did you choose which topics to cover?
I've taught the business of writing to hundreds of freelancers at conferences, over the phone, online and in person. Through our conversations, I've identified the key areas where people get stuck--marketing, project/time management, finances, technology and outsourcing. Writing Coach PRO was designed to address each of these topics in-depth with live calls, resources lists, action guides and online support.
 
How does the PRO program differ from other Writing Coach courses?
Length. Depth. Breadth. Other Writing Coach courses provide overviews of business concepts or drill down into a single topic in-depth. The PRO program is designed to give students a complete blueprint for establishing and maintaining a thriving writing business in today's difficult economic climate.  It is intensive and ambitious.  It's also selective: Each prospective student is interviewed to make sure that he or she is a good fit, and admission is capped at 30.
 
How do I know if I'm a good fit for Writing Coach PRO?
In general, this program caters to published writers who want to take their businesses to new heights, in terms of quality and quantity of clients and profits. The students admitted to the program so far include veteran newspaper reporters who hope to break into higher-paying magazine and Web site markets, finance and accounting professionals who hope to sell content directly to consumers online, and social media pros who are looking to turn their followers into customers. Although their backgrounds vary, they share a strong desire to get paid top dollar for the content they produce. (If you fit this description, please to fill out the application at writingcoach.com/pro or e-mail Margaret@writingcoach.com to schedule a time to chat with me.)
 
How soon do I have to pay? 
Payment is due prior to the first class on Feb. 15 at 7 p.m. EST.  If you're interested, please don't delay because there are only 15 spaces left.
 
What if I have a prior commitment on Monday nights?
All of the sessions will be transcribed and recorded so you can tune in at your leisure. I'm also open to hosting additional Q&A calls on other nights if enough group members are interested.
 
Where can I go to read about the course's features and benefits?
www.writingcoach.com/gopro

 

 

How Stacy Hawkins Adams Stays Afloat Amid Media Sea Change

by Maya Payne Smart

“Typical” days don’t exist for writer Stacy Hawkins Adams — she has too much going on. Her sixth novel comes out this month, and her first nonfiction book is due in March. Then there’s her monthly column for SusieMag.com, her biweekly parenting column for The Richmond (Va.) Times-Dispatch, her weekly writing projects for local nonprofits and her numerous volunteer pursuits. And did I mention that she’s the mother of two very active children?

While the content of her days varies dramatically, she has a consistent start time daily—4:30 a.m. (Talk about motivation.) This gives her an hour and a half before the kids wake up to tackle her week’s goal with the hyper-intense focus of a metro reporter on deadline. Last week, she corresponded with Facebook fans to publicize the launch of her novel. This week, she’s using that time slot to get new book proposals to her agent. But no matter what disruptions may emerge during the day, she knows she’s pushed her business forward, bit by bit.

Brand-Building
The range and volume of material that Adams produces is staggering — and it’s also increasingly common among successful freelance writers. Those who are sailing ahead amid media industry sea changes understand that agility, variety and vigilance are essential.

“It’s wise to keep your hands in various things that work well together because of the ebb and flow of book sales and publishing trends,” Adams said.  “When I left my full-time newspaper job, I had my speaking and freelancing [gigs] solidified. I built the nonprofit marketing piece into it as I went along. Very few authors solely focus on just writing novels or just freelancing.”

As Adams notes, diversification doesn’t mean pursuing totally unrelated projects.  She produces high-quality work quickly by sticking with topics that she knows well and cares about. The social themes, familial issues and spiritual journeys she documents for periodicals also appear in her books. In her latest novel, “Dreams That Won’t Let Go,” she explores family members’ ability to love unconditionally and release one another to live their dreams. Her first nonfiction book, “Who Speaks to Your Heart,” explores how to connect more often and more deeply with God, a challenge her fictional characters often face. Adams has thus positioned herself as a heart and mind specialist of sorts — and, in doing so, created a very strong brand.

Transparency Rules
While a common thread runs through her patchwork of working relationships, the diversity of her work has ethical implications that she’s sensitive to as one who earned an undergraduate degree in journalism and spent 10 years as a staff newspaper reporter before going freelance. For example, she wondered if serving on community boards or helping nonprofits with marketing disqualified her from writing for newspapers. “When I was on staff at the newspaper, the lines were rigid,” she said, “and later I found that the rest of the world doesn’t work that way.”  Her policy is to disclose any relationships or affiliations that might be perceived as conflicts of interest — and to let her editor make the call about whether the topic is off-limits. “I go to my editor and say, ‘I know this person’ or ‘I serve on this board’ or ‘I’ve helped with this endeavor.’ ” So far, she said, nothing’s been deemed off limits.

Cross-Promotion
In addition to her professionalism, Adams’ visibility across many platforms — books, magazines, online, in the community — also makes her a valuable contributor, because she brings her followers with her wherever she goes. This is a bonus for any media outlet that’s struggling to hold onto readers.

In fact, Adams says she spends more time marketing her work to readers than she does writing it. “I thought you write the book, birth the book, hand it over and say, ‘Take care of my baby,’ ” she said.  “But the more time I put into trying to explore new marketing ideas and opportunities, the more willing my publisher is to put dollars and support behind the effort.”

Law of Attraction
Her willingness to experiment also means that when her fiction publisher has new promotional ideas, they often test them out on Adams.  Blog tours, hair salon signings and elaborate launch fetes, she’s tried them all — with great success.  Rather than do a signing at a chain bookstore that draws maybe 10 people, Adams has created elaborate events around her novels’ themes and gathered crowds that celebrated much more than the books.

She honored her mentor and a local community group during the launch of “Watercolored Pearls,” a novel about women coming into their own.  And when “The Someday List” was released, she invited two celebrities, an actress and a recently retired broadcaster, to share their someday lists with attendees. On Saturday she debuted her novel with an hourlong Facebook chat that included free giveaways and music releases—all tied to the latest book’s theme of dream fulfillment.

One would expect no less from an optimist who describes herself as “one who sees a brick wall and instead of giving up, prays about whether to climb it, walk around it or find a way to burrow through it to the blessings on the other side.”

 

How NOT to Win Freelance Assignments

As a freelance writer, a big part of my job is pitching myself to prospective clients via e-mail.  I send letters of introduction to editors seeking writers with expertise like mine and pitch story ideas to publications that I’d like to write for.  But recently I had a chance to see things from a new perspective when I put out this call for editors for WritingCoach.com:

“WritingCoach.com seeks freelance editors for its articles, newsletters, special reports and other content. Successful candidates may be located anywhere in the world as long as they have high-speed Internet connections, ~10 hours a month for editing projects and a strong command of grammar, punctuation and style.  If you're interested, please send your hourly rate and a summary of your editing experience to me at maya@writingcoach.com with "Editing Job" in the subject line.”


The flood of responses I received gave me an unexpected master class in how to pitch that will forever change how I respond to job postings.  The best responses came from people who wrote well, followed directions, communicated expertise and displayed a bit of personality.  

A little flattery went a long way with me as I ranked the 60+ respondents to the job posting.  Editors who demonstrated knowledge of the site’s content and enthusiasm for its mission gained an edge over those who discussed their credentials without reference to my needs.  Here are a few common missteps to avoid at all costs:

Not Following Directions

I asked job applicants to send responses to a specific e-mail address with a defined subject line.  A surprising number of people sent their applications to the wrong e-mail address or with a custom subject line.  In some cases, this may have been an intentional effort to stand out from the crowd.  But in all cases, it was annoying because it created extra work for me.  Instead of having all of the applications land in one place where I could efficiently read, rank and respond to them, I had to forward and filter them myself.  Additionally, it made me question the respondents’ competence; attention to detail is key for would-be editors.

Another variation of not following directions was to send me a list of questions instead of the information that I requested.  While I can understand the urge to learn more about a project before submitting a proposal, the reality is that most time-crunched hirers aren’t going to take the time to answer a battery of questions when they have an inbox full of great applicants (who follow directions) to consider.  You can immediately disqualify yourself by posing questions prematurely.

Not Showing Enthusiasm—or Personality

When time is short, I’ve certainly been guilty of firing off a rote response to freelance job postings, but being the recipient of self-centered job applications revealed what a turnoff this can be.  Here’s a particularly egregious example.

“I'm interested in editing for your organization. You asked for an hourly rate, but I'm not entirely sure what's fair. I am currently unemployed, looking for full-time work. I'd love to do some part-time editing while I search. I attached a resume, just in case.” 

Translation: I haven’t taken the time to find out what “your organization” does.  I’m too inexperienced to know typical industry rates.  I just want you to help me stay afloat while I look for something better.  I doubt I’m a good fit but here’s some more information about me, just in case.

Not Connecting the Dots

Here’s an example of a less depressing, but similarly generic, response that fails to excite.  The applicant focuses on his credentials but doesn’t build a bridge between what he offers and what I need.  

“I’m a long-time writer and editor interested in freelance editing work with WritingCoach.com.  My experience includes copy editing at newspapers, wire services, magazines and blogs.  My rate is $50/hour for editing, and I’m quick and thorough.  Thank you for your consideration of this request and if there is additional information I can provide, don’t hesitate to ask.”

Translation: This is the form letter that I send to everyone.  I don’t have the time or interest to write an additional sentence or two explaining how my background makes me a great fit to edit the particular kind of stories that you publish.

Remember, when you’re competing against dozens of other applicants (many with similar experience) it’s important to distinguish yourself by showing greater familiarity with the publication and real enthusiasm for the work.  

To learn winning strategies, tune in to the free "How to Find Freelance Writing Assignments Now" teleseminar.

 

 

Convert Mediabistro Freelance Marketplace Profile Views to Sales

In a previous post, “Get Found on Mediabistro’s Freelance Marketplace,” I outlined a strategy for pushing your profile higher in search results. But that’s just half the battle. Once you have prospective clients’ attention, you should reel them with winning clips and a professional demeanor.

Here’s how Elaine Pofeldt, a former FORTUNE Small Business editor, won work through the site after going freelance in October 2007. (Who better to offer advice than someone who has years of experience hiring freelance writers and being one?)

Select Clips with Care

The first order of business is to choose writing samples with editors’ needs—and wants—in mind. It may be your profile, but it should be all about the client. Pofeldt showed her range and distinctive voice by displaying long-form narrative features, investigative pieces, service stories and business briefs. “I made sure to select clips that showed what makes my writing unique,” she said. “Several of the clients who contacted me said they had noticed that I had a colorful, feature-y approach to writing about business topics that might otherwise be dry.”

Although the stories varied widely in form, she limited her choices’ subject matter to small business and careers to demonstrate expertise. “I find that many editors prefer to hire someone who can bring up-to-date knowledge about a given field to an assignment, as opposed to a generalist,” she said. 

Highlight Your Professionalism

If you’ve spent some time in a traditional newsroom, let editors know. “When I was an assigning editor, I liked working with freelance writers who had held staff jobs for a while, because I knew they would have a realistic understanding of how the editorial process works,” Pofeldt said.  

Don’t fret if you haven’t worked on staff—a long track record of freelance success can demonstrate the same thing. That’s why she adds new writing samples to the site every few weeks. The updates communicate that she’s a professional, not a hobbyist, and give prospective clients confidence that their projects would land in capable hands.

Elaine Pofeldt’s Four Tips for Freelance Success

1. Don't worry if you can't fill out your profile fully when you first post it. If you are serious about freelancing, you will have a lot more information to add as you move forward with your career. I built my profile gradually over two years.
 
2. If you get a small assignment from a client who has found you on the site, treat it as a tryout for steady work. Make it easy for the client to rehire you by pitching great ideas, doing the best reporting and writing you can, responding flexibly to queries, and being willing to help out with small related requests, such calling a source in a story to ask for a product shot.
 
I think I have gotten a lot of steady work from clients because I don't balk if, say, the top editor on a story suddenly has a last minute question on it before a holiday weekend...or if an editor suddenly realizes that a piece I've written has too much overlap with another one that was assigned by a different editor and wants to shift the focus a bit. I understand that editors want to make their publications as strong as possible, and that sometimes, accomplishing this requires writers to be flexible. Editors are under so much pressure today to do more with fewer resources that I am confident that most will remember anything a writer does to make their lives easier when it comes time to assign future stories.
 
3. Taking out an ad on Mediabistro can be a good way to put yourself on the radar screen of clients you might not have thought of approaching. However, advertising is only one step toward building a thriving freelance business. Most of the assignments I get come from editors who have worked with me in the past, so I try to stay on their radar screen by pitching stories to them regularly. It is also important to pitch editors at publications that are new markets for you, even if some of the queries you send out seem to disappear into a black hole. With many publications still folding, writers need to be very proactive about keeping work flowing.
 
4. Make sure to build a profile on LinkedIn, too. A couple of clients told me they had viewed my profile on both Mediabistro and LinkedIn before contacting me. LinkedIn gives you a place to provide details of your resume that would not fit into a Mediabistro ad but would still be relevant to an assigning editor or potential client. You can also display recommendations from clients there.

Get Found on Mediabistro’s Freelance Marketplace

A few years ago, I signed up for Mediabistro’s Freelance Marketplace, a directory where freelancers can pay to advertise their media services to editors and others. Just by paying the annual subscription fee (today, just $145/year) and loading a profile with my best writing samples, I attracted thousands of dollars worth of assignments. Within weeks, I started getting e-mails from editors of trade and custom publications I didn’t know existed, such as Auto Finance News, Black MBA, and Small Business Banking News. And they paid much more than the local publications on my client roster at the time.

The service’s nominal fee paid off many times over with repeat assignments from those early contacts. But as the site grew to display—and rank—many more profiles, my post-it-and-forget-it strategy began to prove less effective. As with other web endeavors, staying on top requires fresh content, keyword selection, and page optimization. So freelance writers need a plan for maintaining a strong presence in Mediabistro’s Freelance Marketplace. Part One of that strategy is all about attracting editors’ attention; here’s how:

Know Where You Stand

It’s important to think like an editor and be aware of the ways they’ll come across your online profile. Editors can follow a couple of paths to find writers in Mediabistro’s Freelance Marketplace—selecting predefined criteria from the site’s drop-down menus (e.g. expertise, specialties, and location) and typing custom keywords into the search box both yield results. So your profile improvement efforts must keep both approaches in mind.

The two search methods can yield vastly different results, even when searchers have the same idea in mind. Take the example of an editor who is looking for a writer in Virginia to cover a particular story. If the searcher selected “Virginia” and “editorial” from the Mediabistro menu categories, yours truly appears among the first freelancers on the results page. But until a few days ago, I didn’t show up at all if someone typed “Virginia” into the keyword search box. I had to add the phrase “based in Richmond, Virginia,” to my overview section to rank for “Virginia” searches.

Play around with the site to see where you rank—or don’t rank. This is the baseline of information that you’ll need to improve your standing.

Update Your Profile Regularly

One easy way to rise up the ranks is to breathe new life into your profile with a simple update or two. After months of neglect, I just updated my Freelance Marketplace presence to reflect a new specialty area and a professional membership. Within seconds, my profile rose dramatically in rankings using various search criteria. This revealed two things: Mediabistro’s Freelance Marketplace listings update as soon as you hit “submit” (you have to love instant gratification), and you don’t have to do a major makeover or even upload new clips to improve your standing—simple text tweaks will do.

So mark your calendar or set up a recurring e-mail alert to remind you to change something on your profile every couple of weeks. Revise your overview wording, add new writing samples, update your assignment numbers, and watch your ranking rise.

Use Keywords Strategically

Writing specialties, story types, and publication names are all potentially good areas to optimize around. Seattle-based freelance writer Jane Hodges has made a habit of embedding words or phrases that editors might be searching for into her writing sample descriptions. As a result, the walking Mediabistro success story has won a number of assignments from custom, trade and airline magazines.

“When adding new work, make sure you choose intelligent keywords to associate with your stories, or choose keywords that play into the beat you are covering or want to cover,” she said. “Since hiring folks presumably run searches based on keywords or publications, this is another way to make sure that you’re targeted for projects you might actually want.”

Here’s an example of how I improved an article description based on Hodges’ recommendations.
•    Before: A young shoe designer creates a custom strategy.
•    After: Some say an entrepreneur zigs when others zag. This profile of a small business owner who bucked the mass production trend and catapulted her retail sales by selling custom handmade shoes is a good example.
The original description came straight from the subhead that ran with the magazine piece, but didn’t reveal much to the search engine--or reader. The rewrite shows some personality and includes keywords such as small business, entrepreneur, retail, and sales. I also added them and some others to the keyword field associated with the story.

Fill Your Tip Jar

Beyond search rankings, freelance writers should also understand Mediabistro’s Tip Jar ranking system, which aims to help hirers quickly identify the most experienced, consistently working freelancers on the list. It awards up to five coins (think: stars for movie reviews) for “currently available to work” status, frequency of work with given clients, and the number of years in a specialty, area of expertise, or industry. While Mediabistro.com explicitly states that the Tip Jar is not meant to “judge the merits of an individual freelancer’s work,” some employers may not see it that way, so it’s best to do what you can to improve your standing in this respect, as well.

This is as easy as 1-2-3:
1. Make sure employers know you’re available for work by selecting the appropriate option (e.g. I freelance full time).

2. List the media clients that you work for regularly and how many assignments you’ve completed for them in the past two years. Since the system values frequency of work, limit your client list to those you’ve worked with most consistently over time, and update the number of projects field often.

3. Each year make a point to update your experience numbers, and if you’ve held any staff jobs, be sure to check that box, too.

Follow this advice and your profile will find editors’ eyes in no time. But getting noticed is just half the battle—the next step is getting editors to actually call once they’ve landed on your profile. To learn proven strategies for sealing the deal, read “Convert Mediabistro Freelance Marketplace Profile Views to Sales.”

 

Also, be sure to sign up for our free teleseminar: 9 Ways to Find Writing Work Now.

How to Negotiate Better Freelance Writing Contracts

Sick of your freelance clients asking for more while paying you less? Sorry, but this trend is likely to continue in 2010. Don't be surprised (or discouraged) if you're asked to coordinate photography, collect links, write sidebars, and more--without an offer of additional compensation.

This trend isn't a slap in the face, though; it's a call to action. Imagine a seesaw with your effort weighing down one end and a skimpy assignment fee raised high on the other. To balance the load, you can either lighten your effort or negotiate heftier compensation. But, trust me, the best move might be to get off the seesaw altogether.

When to Walk
When the pay rates are far below your expectations, walk away. You can't negotiate, for example, with content mills that pay a fraction of the professional rates you normally command. Say it with me: Established freelancers should not write for pennies. Make it a policy to just say "no" to unprofitable assignments so you can focus on identifying and marketing to publications that will pay you what you're worth.

Do Less for Less
When the proposed rate falls just short of your expectations, one option is to accept the lower fee but downgrade your time commitment proportionately. You can reduce your reporting time, the number of sources you consult, or your availability for revisions to make up for the lost dollars. Be careful, though; this strategy can backfire if editors sense that you aren't giving 100 percent.

Know Your Worth
Negotiation is often the best option. Think of the contract or assignment letter you receive as a conversation starter--not a final decree. Then identify your bargaining chips, assess your client's situation, and define the worst terms you're willing to accept.

Unique access to vital sources, subject-matter expertise, a record of submitting great work, and strong relationships with editors all can be leveraged in negotiations. Good editors prefer to work with familiar freelancers who can deliver on deadline, so they will exert whatever influence they have to pay their go-to writers well. Keep in mind that budget pressures outside of editors' control often push freelance rates down these days (translation: It's not necessarily your editor who's lowballing you), so you need to handle the negotiation graciously, have realistic expectations, and be as flexible as you can afford to be.

Take the Pressure Off
A casual, non-confrontational approach is best. I usually negotiate contract terms with editors by email so they don't feel put on the spot and, more importantly, so that there's an indisputable record of agreement details. For example, I wrote this note after receiving an unacceptable contract:

"Hi [editor], This contract states that you'll pay $0.90/word for the story. In the past, I've received between $1 and $1.50/word from [company]. I don't accept assignments for less than $1 unless it's a part of a retainer agreement where I'm guaranteed a certain total amount per month.Can you pay $1/word for the December piece?"

The email indicated my willingness to walk away from a one-off story rate below $1 but it also showed my flexibility. It made it clear that even though I had received up to $1.50 in the past, I understood that the company could no longer pay that rate. I even signaled that I would go below $1 per word---IF they agreed to send a steady stream of work my way. But I accomplished all this by outlining the facts of my pay history and standards--not by resorting to emotion ("Your offer disappointed me") or apology ("I'm sorry to be a pest, but would you mind reconsidering?"). Remember, negotiation is about give and take, and it's best to be friendly but straightforward. The editor immediately replied to confirm a $1/word rate.

Consider the 'Extras'
Don't forget that the size of your check isn't the only thing you can negotiate. Go for the extras that make your life easier and cost little to nothing when a good client can't budge on a rate lower than your standards. I recently discounted my fee for a new client in exchange for a few things I value: deadline flexibility, instant payment, reprint rights, and promotion of my writing courses. Now, I fit in this client's assignments whenever my higher-paid assignment pipeline slows. Moreover, the publication bolsters my reprint and teaching income prospects by granting me all the rights to my articles and publicizing my courses. It's a win-win.

For more information on how to boost your freelance writing income, check out Writing Coach's "7 Secrets of Profitable Freelancing in a Recession Kit."

Relocation Pays Off for Freelance Writer

Fluent in English, Spanish and Portuguese, freelance writer Manuela Zoninsein could have reported with ease from anywhere in the Americas or numerous other locations. But Zoninsein, born in Rio de Janeiro and raised in Evanston, Illinois, instead flew to Beijing with no Mandarin under her belt to carve out her niche.

"On one hand, I think it was rash and crazy to go somewhere where I had no background in the language," Zoninsein said. "But I felt for the long term it was a really strategic move."

Indeed, relocating to Asia in August 2007 paid off. In just two years, Zoninsein racked up an impressive client list, which includes Newsweek , Engineering News-Record, Monocle, Travel+Leisure Southeast Asia and Time Out Beijing. She also publishes her own newsletter, AgriGate, which explores how information and technology exchange can promote development and sustainability.

She laid the groundwork for freelance success abroad before leaving the U.S. by applying for intensive Mandarin study fellowships and building relationships with English-language publications that sought reporters in Asia. "I networked my butt off," she said. "I took classes at Mediabistro, pitched a ton and got to know folks at Newsweek and Engineering News-Record. I still write for both of those, and I'm so grateful."

Still, Zoninsein describes her arrival as a "crash landing" and wishes she had done even more to get ready. "I prepared myself in terms of professional connections, but not in terms of appreciating the place and learning about the culture," she said. She advises freelancers who hope to venture abroad to try to seek out U.S.-based experts who can recommend literature, history books, and cultural guides to give them a feel for the place.

"You need to get a good sense of what people have said before," she said. "A month before you go, set up a Google feed, follow people on Twitter and become well versed on what people are talking about. The earlier you begin that process, the better."

Zoninsein is based in Beijing but has spent the last few months studying Mandarin at the National Taiwan University in Taipei, supported by a HuaYu Scholarship from the Taiwanese Ministry of Education. She's kept her freelance business going in Taiwan, expanding her beat, tackling editing assignments and filing two to three stories a week. Initially, she had to use translators, interview English-speaking sources and cover areas that didn't require strong Mandarin skills, such as food and restaurant reviews. But her portfolio has since grown along with her language skills.

"It was difficult and frustrating at first to not be able to get on the street and talk to people," she said. "Chinese people don't trust journalists, and they don't trust foreigners. They don't express their opinions openly. There's just not a tradition of free press and interviewing people on the street. What comes out in the Chinese media is usually an official line, and I'm now getting to the language level where you can start parsing that line and get people on record whose opinion differs."

Zoninsein also reached a place where editors recognize her as a go-to person for food, travel and architecture stories in China. The freelance writer who was pitching a story a day just to make inroads at publications now admits she hasn't sent a formal query letter in six months. "It's become much more of a conversation," she said of her interactions with editors.

Here's her advice on how you can do the same:

• Pitch trade publications. "Get hooked up with an industry pub," Zoninsein said. "They pay well and have been less affected by the economy. They have a real need for articles and don't get as much love from freelancers as other publications." Engineering News-Record, a publication serving more than 70,000 paid subscribers in the construction industry, is among her top clients.
• Choose a few specialties. "I want to become associated with a few certain genres, categories," she said. "Once you develop a beat, you know what the issues are, you have sources who contact you, you have a foothold in a certain industry, the research time goes down, your brain is constantly thinking in that mode." She uses her iPhone and Microsoft Word (on her computer) to keep a running list of hundreds of story ideas.
• Prove your expertise. "It may sound wonky, nerdy or techie," she said, "but that means now publications will let me write about anything from infrastructure to travel pieces regarding train or airplane travel and that's been really incredible." The deeper your knowledge is, the less competition you will have.
• Stay in touch. "My career is very much built on my relationships with editors-maintaining contact, building up my brand and being consistent," she said. Talent and story ideas aren't enough. You must constantly stay on your clients' radars in order to thrive.

For more in-depth information on how to create a steady stream of freelance writing opportunities, check out Writing Coach's "7 Secrets of Profitable Freelancing in a Recession Kit."

 

Is self-publishing a career killer?

Q. My friend keeps suggesting ebooks and says they can be super short and about as much work as magazine stories but royalties can be much higher. He suggests putting them out through dedicated ebook sites. However, I've always shied away from doing them because of I wasn't sure if mainstream media publications would take them seriously as parts of our portfolio if they're put out by these small ebook sites.

Do you think the site where you put out your ebooks matters and do you think we lose credibility by writing these things since it essentially seems like self-publishing?

 

A. I'm a proponent of self-publishing books, ebooks and anything else you want to because they have great upside potential if you have strong marketing and distribution. 

Here's an example:  Bob Bly wrote a trade paperback book that earned him 72 cents in profit per copy.  He later repackaged the content as three ebooks, and earns a whopping $87 each time he sells the downloadable pdfs.



That said, all self-published works are not created equal.  Some are awful--full of amateurish writing, ghastly design and typos.  So the key to self-publishing is building a strong cast of supporters to make you look good.  This includes copyeditors, graphic designers and printers.  Ebooks are no different except that you don't have printing costs, which dramatically increases your profit margin.



Some ebook distributors have a bad reputation and dispense spammy, inaccurate garbage so you do have to be careful about where your work is displayed. You can get around this by selling the digital products through your own site or through Amazon and other reputable companies.
  In short, self-publishing won't hurt you with mainstream media unless it's bad self-publishing.  

Independent journalists have to find a way to thrive despite mainstream media turmoil, and I think publishing ourselves via blogs, books and digital products is one profitable way to do it.  Many "self-published" blogs, subscription newsletters and other publications are breaking news, delivering value and earning money.  Take Michelle Leder's Footnoted.org.  Creating a publication that subscribers are willing to pay $2,500/year for is no small feat.  The fact that she distributes it herself has done nothing but enhance her credibility, platform and bottom line.

7 Secrets of Profitable Freelancing in a Recession FAQs

UPDATE: This live event is over, but you may purchase its recording, transcript and worksheets here.

***

I've received a number of questions about Thursday's "7 Secrets of Profitable Freelancing in a Recession" teleseminar (www.writingcoach.com/success) so I thought I'd respond via the list in case others were wondering.

Q:     I just attended your “How to be an entrepreneur as a business journalist” course.  Will I learn something new in this course?

A:     “How to be an entrepreneur as a business journalist” offered a survey of business basics for journalists interested in freelancing and those thinking about launching news start-ups.  

 

“7 Secrets of Profitable Freelancing in a Recession” was designed just for freelancers so the advice, examples and handouts will be more focused.  It assumes some knowledge of freelancing basics like pitching and offers ADVANCED techniques for building writing businesses in a challenging market environment.  

Q:    I heard your “Truth about Freelancing” speech at the SPJ Annual Convention.  How is this presentation different?

A:    The “Truth about Freelancing” presentation offered introductory freelancing material and presented overviews of several approaches to getting paid to write.  

“7 Secrets of Profitable Freelancing in a Recession” takes a deeper dive by featuring TWO experienced freelancers telling you exactly HOW we:
+ Create multiple streams of income from magazine articles, books, ghostwriting and web writing
+ Decide what to pitch to whom when
+ Stay on top of numerous assignments without being overwhelmed
+ Make marketing as painless as possible
+ Find and hire team members —from transcriptionists and payroll providers to computer consultants and goal buddies—to help us boost business

Q:    I can’t make the call at 8 p.m. EST on Dec. 10. but want to receive the information.  What should I do?

A:    Register at www.writingcoach.com/success even if you can’t call in live.  All registrants will receive the course handouts and a digital audio recording of the call so you can tune in when it’s convenient for you.  You can also purchase a full transcript for $5.

Q:    I saw that you put out calls for questions on the Writing Coach Facebook and LinkedIn pages.  Will I have a chance to ask questions during the call?  I’m sure I’ll have questions then.

A:    We’ll leave 30 minutes at the end of the call to take student questions.

Here’s a link to register for the course or learn more:
http://www.writingcoach.com/success