Posted by Admin Team on Wed, Apr 21, 2010 @ 10:00 AM
by Rebecca Smith Hurd
Q. Should I charge by the hour for freelancing or by project? What are the pros and cons?
A. Freelance writing fees are frequently non-negotiable. Many print publications and websites offer a fixed rate, either per-word or 
per-article, and contributors either take it or leave it. Sometimes, however, an editor will ask you what your rate is. This is when you'll need to decide whether to charge by the hour or the project. The best choice, seasoned professionals say, depends on you and the assignment in question.
"If I have a clear idea of the scope of something, I prefer a flat fee. I have a good idea of how much time it takes me to get things done and know roughly what I think my time is worth," says Mathew Honan, whose work has appeared in Mother Jones, Popular Science, Runner's World, Time and Wired. "However, if a project is really open-ended, or doesn't have fixed deliverables (such as copy to file at a certain word count by a certain date), it's probably smarter to be paid by the hour."
This is particularly true of research or consulting projects, Honan says. "I may not know exactly what I'm getting into until [I'm] knee-deep. For example, I helped a university edit a new catalog. There was no previous example for me to look at, nor did the client know what length the finish product was going to be, so I couldn't know in advance how much work it would require. In that case, I billed by the hour," he explains. "But if I'm doing something like reporting and writing a story, or editing a brochure, where I know more or less what the end result will be before I get started, I always want to know what my total take-home is going to be upfront."
Setting a fair rate — whether it's per word, hour or project — requires you to be realistic about your time, resources and overall ability to deliver quality material, to someone else's specification, on deadline. When determining your fees for any project, remember to factor in any expenses (phone calls, database fees, travel, etc.) you're likely to incur while completing the assignment. Ask the client to clarify any vague aspects of their request, to make sure you agree on the nature and scope of the work.
"When I'm offered a project I want, I do a happy dance, then get to figuring out how long I'll spend completing it," says Erika Stalder, who writes a teen advice column for ABCfamily.com
and has authored four works of nonfiction for Zest Books. "I consider research, writing, expenses, image sourcing and editing. Then I set a fee at my hourly rate, plus a built-in buffer."
For instance, if she estimates the work will take 40 hours, Stalder sets a rate at 40 hours plus a few additional hours "just in case I go over," she explains. "This prevents me from getting sucked into over-researching, overspending or overworking. The little buffer I create also gives me a challenge: If I meet my original hourly estimate, my overall hourly pay goes up, which can mean extra money for fun or my retirement (something we freelancers have to provide for ourselves). If I go over my estimate, the padding ensures I haven't overworked and screwed myself out of my hourly rate."
Project fees force Stalder to budget her time in advance, she says, which allows her to schedule new assignments without interfering with other projects she's already working on. It also helps her maintain work-life balance by preventing her from overbooking.
Other freelance writers prefer to charge hourly, especially when they suspect that a particular job may require multiple rounds of revisions or lead to additional requests. "If you've agreed on a set project fee, often the client will assume that additional work is included. So they get more work for no additional pay — and you get the short end of the stick," says Clare Kleinedler, a food and travel writer who's reported for Intermezzo, the Los Angeles Times and People and does copywriting work for eHarmony, MySpace and Zynga. "Hourly rates help avoid any confusion. It's much easier to convince a client that the extra hours were necessary (hence a higher invoice than what they may have expected) than it is to convince a client to renegotiate a set fee halfway through the project."
When taking on an assignment, Kleinedler specifies what her hourly rate will and will not cover. "Anything beyond the second round of revisions gets billed at our agreed hourly rate," she says. "'Additional work' means anything that wasn't covered in the project's scope at the beginning, because often clients will read my draft and then decide to go in a different direction — not because of anything I did wrong, but because they're working it out as they go — or request additional pages or sections."
As an example, she adds: "I once did five direct-mail post cards for a perfume company. They were happy with my work, but decided they wanted to change the subject matter of two of the cards, which meant I'd have to start them from scratch. I made it clear that I would bill them for the additional work, so that they wouldn't assume it was included in my original quote. Most clients have no problem with this, and the ones who do are just trying to take advantage of you!"
Whether you're charging by the hour or by the project, if you think an assignment will be more trouble than it's worth, your best course of action is to turn it down — and use the time to pursue another one that truly deserves your time and energy.
Do you have a question about freelancing? Ask Writing Coach.
Posted by Admin Team on Fri, Apr 02, 2010 @ 10:00 AM
by Rebecca Smith Hurd
Q: Is it unprofessional to pitch the same story to more than one publication at a time, or should you wait for a response before moving on?
A: With freelance pay rates on the decline, most writers can't afford not to have multiple pitches in the offing at any given time. After all, the more stories you pitch, the more likely you are to receive assignments and, ultimately, get paid. But sending duplicate pitch letters — or offering up a single story, told from the same angle — to two or more editors at once is generally frowned upon.
"I think a freelance writer would starve to death if he or she always sent pitches out one at a time, so I don't think it is unprofessional to send out multiple article pitches," says Catherine Craddock-Carrillo, a commissioning editor for Lonely Planet. "What is unprofessional, and a surefire way to either be ignored or rejected, is to send out identical letters to each place, not tailoring your pitch to the particular needs of each publication."
Before you send story ideas to an editor, Craddock-Carrillo adds, make sure you get to know the publication you're pitching. Familiarize yourself with its contents, voice, and audience by reading a few issues (or articles on its Web site). Check out its submission and editorial guidelines for insight into how its editors prefer to receive pitches. Try to find out what the publication's lead times and deadlines are, too. Most editors plan days, weeks, and even months in advance. Armed with this information, present yourself and your ideas accordingly.
Keep in mind that publishing is a competitive business. One reason you shouldn't pitch the same story to multiple editors is that many publications take pride in offering original content. Alex Heard, editorial director for Outside magazine, says that the only real excuse for submitting an article idea to multiple editors at the same time is when your idea is so timely that you can't afford to wait an extra moment. For example, perhaps your pitch involves breaking news or an exclusive interview with an elusive yet sought-after source.
"If you (the writer) really feel this is the case, go ahead and multi-submit, but announce that you're doing so. Reaction to this will vary, depending on your clout and the temperament of the editors you're dealing with," Heard says. "If you're a young writer on your way up, it's likely to irritate people. Editors don't like to be told they need to ‘hurry' and make a decision, so they're likely to just blow you off. If you're Michael Lewis, they may say, ‘Hey, we better hurry and give Michael an answer.'"
Heard stresses that, if you're going to two-time editors, never forgo telling them so and merely hope for the best. "If you get accepted by Magazine A today, and then Magazine B three days later, the editors at Magazine B are going to hate you forever, or at least until they're all laid off and there's a new regime at B who doesn't know about it. But journalism is a relatively small world. Word is likely to get around."
This fear has kept Jenna Wortham, a reporter for The New York Times, from ever attempting the practice. "I've never pitched the same piece to multiple publications, largely because I never worked out what I'd do if that piece was accepted by both places simultaneously," says Wortham, who freelanced for Bust, Frommer's and Wired before joining the NYT staff. "Would I withdraw a pitch and risk burning a freshly forged contact? Or hope I possessed enough creativity to spin the pieces in different enough directions that the stories would be fundamentally different? It always felt too risky to attempt."
Once you've crafted and submitted an original pitch to a publication, wait for a reply before taking your business elsewhere. How long you wait, however, is really up to you. Give editors at least a few days — and no more than three weeks — to respond. "Editors usually can't tell you right away if they can use your story, but I think they should acknowledge receipt of your pitch within a week, even less time," says Craddock-Carrillo. "Writers really need to play this by ear."
Of course, you may never get a response. "If three weeks go by and you don't hear anything, you have a right to assume that the answer is no and you're being blown off, which happens all the time," Heard says. "Obviously, it's OK to re-pitch then. If you want to be extra-courteous about it, let the editor you originally pitched know what's up, in a non-crabby way. ...In my opinion, you can also skip this step and not consider yourself a war criminal."
Do you have a question about freelancing? Ask Writing Coach.
Posted by Admin Team on Thu, Mar 11, 2010 @ 10:41 AM
by Rebecca Smith Hurd
Seasoned pros say that writers looking to branch out need to build a strong network and adapt to whatever technology clients use.
Q: Do you have any resources you’d recommend for freelance editors? As a journalist, I have always edited my own work, and I think I have the skills, but have not had the “editor” title. I’m not sure what computer programs are commonly used, especially when working remotely.
A: Breaking into freelance editing can be tough because, as one seasoned editor put it, “there’s more competition than there is meat.” Networking is usually the best resource for finding jobs, and any professional journalism experience — including writing — gives you a huge advantage: You already know people in the field.
“I don’t think of myself as a networker, a schmoozer or a people person, really, but that’s pretty much the only way I’ve ever gotten work,” says Hon Walker, a Portland, Ore.-based editor. “When I started out, it wasn’t about scouring Craigslist or reading classifieds or looking at job listings or sending out resumes. It was about people I had a personal connection to. I talked with them. And before long, I was working.” Over the past 13 years, Walker’s client list has included CNET, PC World,
Wired, Dwell, SFGate.com and O’Reilly Media.
Editorial managers tend to prefer “known quantities” because they often don’t have time to vet freelancers the way they would potential full-time hires. “It’s very rare that I would hire somebody completely cold, with no connection whatsoever, because I have no context for them,” says Karen Zuercher, associate managing editor at Via Magazine in Walnut Creek, Calif. “Sure, I can call their references, but only an idiot is going to provide one that isn’t glowing. So if there is any personal connection at all, I recommend it — schools, professors, whatever they can find.”
If you don’t have any connections, Zuercher, who freelanced for more than two years before accepting her current position last fall, suggests joining a networking or affinity group in your area to establish contacts. In many major U.S. cities, you can connect with other freelancers online through Yahoo or Meetup. You might also consider joining a national industry organization, such as Mediabistro or the Society of Professional Journalists, both of which hold periodic regional events.
In terms of computer programs, there really isn’t a definitive answer about which ones you’ll need to master. The tools of the editing trade vary wildly from job to job and across media — regardless of whether you’re working in-house or remotely. Generally, you should be adept at using a personal computer, email, a Web browser and search engine, and Microsoft Office (Word, Excel, PowerPoint, etc.). You’ll likely find yourself working with some sort of publishing software, too, either online or off.
If you’re editing online, be prepared to change software with each new client. “Web publishers have proprietary posting tools, and they all have quirks — weird, kooky things that you figure out through trial and error,” Walker says. “I’ve also worked remotely through a virtual desktop/private network. I was looking at a desktop in their office: I used their software and servers remotely through my machine.”
If you’re editing for print, get familiar with a desktop-publishing program like Adobe InDesign. Amanda Mitchell Henry, a Dublin, Calif.-based freelancer, says you don’t need to be an expert, but understanding what happens to the words on the page after you’re done editing them is beneficial. “I don’t have graphic-design capabilities, and I don’t have the layout skills, but I have paid enough attention to both that I’ve been able to do the best I can with, say, a PowerPoint presentation or blog posts … because now a lot of stuff is in our hands as editors,” says Henry, who’s freelanced for eight years for clients like InfoWorld, NetworkWorld and BWIA Airlines’ magazine, Caribbean Beat.
Zuercher says she doesn’t expect freelancers to be tech experts, but she looks for self-starting editors who feel comfortable with computers and software in general. “It’s more about adaptability than it is about any specific skill set,” she says. “You have to be able to step up and train quickly and figure out stuff on your own.”
Do you have a question about freelancing? Ask Writing Coach.
Posted by Maya Smart on Tue, Dec 08, 2009 @ 07:28 PM
by Maya Payne Smart
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.
Do you have a question about freelancing? Ask Writing Coach.