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 Maya Smart on Mon, Apr 19, 2010 @ 10:00 AM
by Maya Payne Smart
Sometimes freelance writers make the task of drumming up new business harder than it needs to be by overlooking the resources right in front of them. Before you spend a lot of time chasing editors you've never met, why not tell the most trusted people you already know that you're looking for work? That's right: Talk to your friends and family.
You don't have to be Rupert Murdoch's next of kin or Arianna Huffington's BFF to use personal connections to your professional advantage. Your inner circle may not include any media moguls, but one of your friends or family members may know someone — or know someone who knows someone — who needs a story you're ready and willing to write.
Explain what it means to be a "freelance writer."
We tend to view friends and relatives as the people we hang out with when we're
not at work. But as freelancers, we have to bring our networking A-game all the time. This includes casual and recreational situations. Start by clearly explaining your work, goals and interests. It's shocking how easily the uninitiated can equate "freelance writer" with "slacker."
Avoid this (and other frustrating situations) by providing examples of what you do — and don't do. Want to meet Lucy Lou who runs the pet daycare and needs someone to put together her Web site? No. Tell people what you specialize in, who your ideal clients are and which types of sources you like to cultivate. Help your friends and family help you.
By letting everyone know how hard we work, what exactly it is that we do and what we're looking for in terms of jobs, we enable them to share that information with others. Then, if they know or meet people who may be helpful to us, our names come to mind. The best part: Our new connection comes with a personal reference.
Keep everyone in the loop.
Once your friends and family know what you're up to, remind them again later. The easiest way to do this is to send them links to new stories periodically. The people who support you like to see what you're up to. If you belong to Facebook or another social network, post the link there, too. Encourage loved ones to forward or repost your work.
When my husband and I relocated to South Carolina several years ago, he told a local beat reporter he met that I was a writer, too. The reporter's wife happened to be an editor, and she got in touch with me when she was seeking writers for the launch of G Magazine, a lifestyle publication in Greenville. The connection led me to some interesting assignments, such as profiles of local celebrities, including bluesman Mac Arnold and Tour de France veteran George Hincapie.
Pursue leads — and follow up on them.
Recently, I was sitting next to a friend of a friend at a basketball game. He asked me what I do and I told him, very specifically, that I was a freelance writer who specializes in covering business topics for print and online media. As it turned out, he had a good friend who was the publisher of a national business magazine and said he would introduce us.
I sent the acquaintance a letter of introduction (for more on these, check out First Impressions: The Letter of Introduction), which he forwarded to his publisher friend. By the end of the month, I had a freelance assignment for the magazine.
Posted by Maya Smart on Wed, Apr 14, 2010 @ 10:00 AM
by Maya Payne Smart
Since 2005, newspapers and magazines have laid off nearly 130,000 journalists. Many are seeking a fresh start as freelancers. But, without the structure, competition or camaraderie of the newsroom, it can be easy to feel lost. Sound familiar? The good news: With a little self-assessment, you'll be headed in the right direction, toward a lucrative freelance career as your own boss, in no time.
First, you need to step back, reflect and take an inventory of everything that you bring to the table. In moments of change, especially when economic times are tough, people tend to focus on what they've lost — the job they used to have or the title that they used to hold. Instead, concentrate on what you have to offer.
Make a list, onscreen or on paper, of everything positive you can offer freelance clients. Note your educational background, including any special certifications you have, and the reporting or other expertise you've developed over the years. As you list, point by point, your knowledge and experience, you'll likely start to see some patterns. Use them to consider offering yourself up as an authority in a given topic, area or field.
Now that you've established your skills, make another list of everyone you know who may provide some professional support. As someone who's already worked as a journalist, you have an advantage over other a freelancers: your network. Who you know really does help to determine your net worth in this business. Start with colleagues, from every relevant job you've ever had. Then list professors from journalism school with whom you're still in touch, or even professors in other subject areas. Include friends or family members who are editors or who work at publications.
You also want to write down any writers you know. Other freelancers who are successful in their careers will become assets as you go forward. Once you've written down all the names, look for any relationships between your skills and your network. All of these people can become resources for you as you develop your freelance writing business.
Finally, make a third list of the tasks you enjoy and your general interests. Of all the things that you've done, professionally and voluntarily, what subjects and activities do you have a natural affinity, enthusiasm or passion for that you may be able to turn into great writing?
Freelance writing, particularly journalistic writing, can be a difficult way to make a living. You have to sit at your desk, just as you would if you were back in your old newsroom, and produce story after story — often without anyone to bounce ideas off of or to light a fire under you. In order to sustain the constant, rapid pace of development that you'll need to make a good living, you really need to (mostly) enjoy what you're doing.
After all, you don't want to create just another job for yourself. As a freelancer, you can shape and mold your career into whatever you want it to be. Why not create your dream job?
Posted by Maya Smart on Mon, Apr 12, 2010 @ 12:00 PM
Freelance writers can shape their careers to the extent that their talents and motivation allow. Why choose to be depersonalized, devalued and disrespected?
by Maya Payne Smart
In his new book "Linchpin: Are You Indispensable?" entrepreneur Seth Godin describes a multigenerational American conspiracy in which schools, governments and social contracts led us to tr
ading genius and artistry for presumed corporate safety nets. Work hard, keep your head down and collect your pension were the rules of the game — until they weren't. The layoffs, furloughs and other cuts prompted by recession show a system breaking under its own weight. Yet many of us keep toiling as if old bargains still hold when a new approach to work is needed.
Rather than remaining cogs in a broken industrial machine, Godin argues that we should shrug off the thinking that's brought us here and use our strength and creativity to instead become linchpins, the indispensable individuals who hold organizations together and propel them forward. Although his message is largely intended for employees who cling to outmoded expectations of their employers and themselves, his insights are valuable for freelance writers, too. In a sense, freelancers are even more vulnerable than full-time staffers because we work with few guarantees and are all too often underpaid and under-insured.
Moreover, in the media industry, content farms and even some legacy media companies are applying the old industrial model to further commoditize journalism. Like the pin-making factory in Adam Smith's "Wealth of Nations," they've broken down the content creation process into tiny tasks undertaken by low-paid workers to produce much more copy than a skilled artisan working alone ever could. But as freelance writers who work without corporate paychecks, benefits and backing, we have even less reason to take the bait than the manual laborers of yesteryear.
The way forward as freelance writers is not to push ourselves to become more efficient and productive parts of some insatiable content machine. We'll never be fairly compensated in a system in which our primary value is being compliant and interchangeable with the next writer. So let's not play that game. Instead, we must embolden ourselves to stand out, speak up and chart our own courses amid unpredictable circumstances. Our expertise, our ethics, and even our quirks (ahem, style) will fuel greater success in this new economy that's reeling from changes wrought by globalization and technological change. The way forward is indeed to become linchpins, people who bring insight, experience, flexibility and concern to our work - and are indispensable as a result.
"Indispensable freelancer" sounds like an oxymoron. We're contract workers after all. Our work is short-term and unattached by definition. We labor outside of the newsroom on our own time and without close supervision. Why should we harbor any illusions that what we do is crucial, that who we are matters? Because all writers are not created equal — each of us brings something unique to the table, and we should strive to further differentiate ourselves from the next guy as much as possible. Otherwise, we'll soon be replaced by other nameless, faceless contributors. As a freelancer, you have the freedom to shape and mold your career to the extent that your talents and motivation allow. Why would you choose to be depersonalized, devalued and disrespected?
Increasingly, being remarkable is the only way to profit. You have to believe in the work you're doing — you have to connect with it, your clients and your colleagues. You have to be an artist and produce work that inspires people. You have to push past fear and lean into challenges. You have to seek out clients who appreciate and compensate your hard work and talents. And you have to say no to jobs that steal time and enthusiasm from your dreams. "In a world that relentlessly races to the bottom, you lose if you also race to the bottom," Godin reminds us. "The only way to win is to race to the top."
Ready. Set. Go!
Posted by Maya Smart on Fri, Apr 09, 2010 @ 10:00 AM
by Maya Payne Smart
Many writers pay to join professional organizations, yet never actively participate in the groups. Perhaps they just want the tax write-off — but why stop there? By simply seizing the opportunity to meet colleagues (think: potential clients) a modest investment in membership dues could bring a boon to your freelance business.
First, choose an organization that best suits your interests, needs and business pursuits. Groups operate on local, regional and national levels, and cater to different ethnicities, beats and experience levels. The American Society of Journalists and Authors, the Editorial Freelancers Association, the Society of Professional Journalists
and the Society of American Business Editors and Writers are good examples.
Next, get involved in the group's activities. Attend events, introduce yourself to other members, and volunteer your expertise. Use your membership to expand your knowledge, your presence, and your list of contacts. Work to make yourself stand out from the crowd, so that other members seek you out when opportunities arise.
I belong to two of the organizations that I mentioned above. I participate in each one differently. I began participating in SPJ by attending its national conference. Prior to that, I submitted a proposal to be a speaker, which was accepted. I gave a presentation titled "The Truth About Freelancing" that greatly increased my visibility among attendees. Afterward, numerous people approached me and said they'd learned a lot from what I had to say. In essence, my speech was a conversation starter that led to connections and opportunities I'd never anticipated. This October, I'll play a larger role at the national convention by presenting a half-day freelancing boot camp and hosting a booth in the exhibition hall. (I hope to see some of you there.)
I also participate in local SPJ activities through the Virginia Pro chapter. At my very first local gathering, I made connections that led to freelance assignments with Virginia Business, a monthly magazine. Next month, I'll moderate a panel on writing for social change in conjunction with the chapter and James River Writers, another group I belong to.
My involvement with the Society of American Business Editors and Writers developed differently. I learned about SABEW when I was a graduate student at Medill, attending the National Association of Black Journalists' annual convention in Atlanta. A couple of SABEW members gave a great presentation on finding the red flags in financial statements. I applied for membership the following year while I was the online reporter for Crain's Cleveland Business, but I didn't become active until I began freelancing full time. I signed up for SABEW's fall conference in 2007 and attended a business-reporting boot camp held beforehand at the University of North Carolina.
I stood out as one of the few freelancers at the fall conference. So, when SABEW board members began looking for people to help develop member services for that demographic, my name came to mind. By volunteering to create programming for freelancers within that organization, I gained visibility. Last year, I became the first freelancer to be elected to the board of governors. Through SABEW, my work caught the attention of editors who have since hired me for other projects, including writing for CNNMoney.com and BusinessJournalism.org.
You never know where the connections you make through a professional organization will lead, and — if you're willing to put in a little effort — it's hard to imagine a scenario in which your freelance business won't benefit from the investment.
Want to know more about how to get the most out of attending group events? Check out my recent post, "How Freelancers Can Make Conferences Pay."
Posted by Maya Smart on Wed, Apr 07, 2010 @ 10:00 AM
by Maya Payne Smart
Starting a freelance writing business can seem daunting, even for veteran writers. You've got your resume, letter of introduction, and clips in order. You know what you'd like to write about, but you're not sure whom you'd like to write it for. Maybe you don't have any former employers to hit up for assignments — or you want to cast a much wider, more lucrative net. Where do you start? One option is the Internet, where you'll find a slew of resources to help you hit the ground running. Here are four Web sites that I use and highly recommend.
FreelanceDaily
FreelanceDaily.net is kind of like a Craigslist for freelancers. The site rounds up writing leads from various online sources, including classified ad posts, and breaks them down into categories for easy scanning. These categories include travel and food, medical health, copywriting, scriptwriting, and more. Sometimes dozens of new posts appear daily.
Of course, much in the same way you would test-drive a car before buying one via Craigslist, you should check out potential clients before agreeing to work for them. Some of the posts on FreelanceDaily are dubious. As a freelancer, it's your responsibility to do due diligence: Ask questions, vet contracts, and clarify your terms to make sure that you can collect the fees you have agreed upon for services rendered. Always trust your gut instincts. If something seems too good to be true, it probably is. Protect yourself from flaky clients by declining work when necessary.
FreelanceSuccess
This members-only site costs about $99 a year to join, which is a small price to pay for the access to valuable resources you'll get in return. My favorite FreelanceSuccess feature is its in-depth weekly newsletter, which provides detailed guides to specific markets. FreelanceSuccess staffers often base their information on actual interviews with editors at the publications profiled, which tend to be those that pay at least 50 cents per word for articles. This gives freelance writers a chance to get inside editors' heads to see what they need, what kinds of writers they're looking for and what deadlines they're working with. Plus, the editors frequently discuss how writers can be most successful in pitching to them. Armed with this knowledge, you can tailor your pitch letters to meet their needs.
FreelanceSuccess also offers:
- A strong community of freelance writers
- In-depth market guides
- News about editorial staffing changes at publications
- A forum for freelancers to exchange ideas and tips
- Subscriber database that helps link editors with writers
Mediabistro
This popular site for media professionals offers all sorts of helpful tools. However, its job listings section isn't always the best place for freelancers to find work. Instead, you may consider trying out its Freelance Marketplace, which costs about $150 a year. In the marketplace, Mediabistro allows members to post profiles of themselves that include contact information, work history, links or attachments of writing samples and other details for editors who are looking for freelance writers.
If 150 bucks sounds steep, it's been worth the investment for me: Editors from publications I'd never thought to approach, including Small Business Banking News and Black MBA magazine, contacted me through its directory. For more on how to succeed with Mediabistro's Freelance Marketplace, check out "Get Found on Mediabistro's Freelance Marketplace" and "Convert Mediabistro Freelance Marketplace Profile Views to Sales."
Mediabistro also recently launched a program called Freelance Connect. This forum has a bidding system that operates sort of like Elance.com. An editor with a particular assignment in mind details it on the site, and then writers bid on the job. In general, I don't like bidding sites, which too often create a race to the bottom. If you're going to bid, present yourself as a better, stronger option rather than low-balling yourself and decreasing the value of your work.
Finally, you may also want to check out Mediabistro's Fishbowl sites, which sometimes contain news about career moves within various publications. Say you've got the perfect story about climate change and you see that a major magazine just lost its best environmental reporter. Now may be the perfect time to send a pitch letter. (Note: You can subscribe to a daily feed, so that you get all of the day's posts in one tidy e-mail.)
Writer's Market
You're probably familiar with Writer's Market, which since 1921 has published a book of opportunities for freelancers to sell their writing. Its newer Web site can be equally helpful. Writersmarket.com primarily supplies information about magazines and book publishers. The site allows you to manage your submissions with various record-keeping tools — if you don't yet have a system for tracking those sorts of things — and helps you stay abreast of the latest publishing industry news.
You can glean additional information from its Q&As with some of its publishing experts. And its pay-rate chart will give you an idea of what to charge for certain kinds of freelance gigs, particularly those that don't use a standard per-word rate.
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 Maya Smart on Mon, Mar 15, 2010 @ 10:00 AM
by Maya Payne Smart
Freelancers like us were not the focus of the paidContent 2010 conference. But last month’s gathering of “serious stakeholders” in New York to discuss the economics of content generated a ton of information that our businesses can benefit from.
Here are my five top takeaways:
1. Grow multiple “legs” of revenue. For the past 18 months, I’ve been talking with freelancers about the importance of having multiple streams of revenue flowing into our writing businesses, from article dollars and book royalties to speaking fees and blog ads. paidContent founder Rafat Ali, however, uses the phrase “multiple legs of revenue.” I like this expression better because if we envision our freelance writing businesses as sitting stools, it’s clear that they would topple without at least three supporting legs. Major media companies sell advertising, subscriptions, products and services. I sell articles, courses and multimedia. How about you? What distinct, sturdy income sources will give your business legs this year?
2. Follow the money. I had an “aha” moment when James McQuivey, a vice president and principal analyst for Forrester Research, noted that “People don’t pay for content, and they never have.” People pay for access to content. Publishers have been confused about this for years because content delivery used to be so closely tied to gated analog media (books, vinyl, theaters, newsprint, etc.). With the rise of digital information and devices, it’s clear that consumers are paying for access to content. We’re also shelling out more than ever to get the movies, news and music we enjoy. Need proof? Add up your monthly bills for cable TV, broadband, wireless phone data service, Netflix, digital music and gaming services. The average American has a content bill of $96.84 — and $75.04, or 77 percent, of that is for access.
People will continue to pay for access to content, but ad revenue will drop as dollars get spread across many media and content producers (that’s us) will face considerable competition. To profit in this environment, freelancers need to create content that is not easily replicated or duplicated — and sell it to whoever wields the most control over access to content (e.g., cable and telecom companies, monopoly content rights holders and device makers). There’s a pecking order in play: Producing generic news items commands less pay than producing Lost. As entrepreneurial writers, we need to reconsider the types of content we’re providing and start moving up the food chain.
3. Go local. Globalization may be all the rage, but Hilary Schneider, executive vice president of Yahoo Americas, says that Yahoo is focused on localized content delivery. “Local is digital crack,” she said. “Audiences are consumed with understanding local information, local news, connecting with their local community, and advertisers are just as excited about their ability to localize their offers.” She estimates that this market, which includes different levels and definitions of local, represents a more than $15 billion opportunity. Yahoo is focused on the “national local” piece of this — helping large advertisers like McDonald’s use search traffic and consumer data to drive foot traffic in specific locations. In 2009, Yahoo’s Newspaper Consortium, which sends Web traffic to newspaper sites, brought the papers $100 million in revenue, and that’s just the tip of the iceberg, she said. Later in the day, Devin Wenig, CEO of Thomson Reuters Markets, outlined his company’s plan to bring in local content by creating a “professional content ecosystem” in which local providers can syndicate content. Ask yourself: How can I create sought after local content? And, more importantly, who’s buying?
4. Get niche quick. Rob Grimshaw, managing director of FT.com, said that the Financial Times’ spate of acquisitions of high-end subscription publications shows that “news journalism is not dead.” The acquired digital media companies include Medley Global Advisors, Mergermarket, Exec-Appointments.com, Money-Media and MandateWire. Notably, all relied on niche content, digital business models and intelligent aggregation to sell content for tens of thousands of dollars a year. In a separate talk, Steven Brill, co-founder of Journalism Online, made a similar point: “Online everyone is a trade publisher in the sense that they have to be tightly focused,” Brill said. Freelancers, take note: Specialization pays.
5. Keep an eye on content farms (a.k.a. super-distributors). Rafat Ali cut to the chase when he asked executives from Demand Media, AOL, Associated Content and About.com: “Are you content with driving the economics of the business into the gutter?” His cynicism gave respondents an opportunity to distinguish their offerings from those of competitors. All content mills, it turns out, aren’t created equal. Pay scales, writer credentials and editorial goals differ dramatically. About.com has been around for 13 years and its writers, with whom the company hopes to forge long-term relationships, make between $600 and $1,200 per month on average. In contrast, writers for Associated Content (“the people’s media company”) can expect $1 to $2.50 per 1,000 page views. Marty Moe, senior vice president of AOL Media’s publishing division, says its Seed.com wants to “produce the highest-quality journalism” it can. Associated Content’s CEO Patrick Keane asserts, “We are not a news site; we are not journalists. But we’re democratic and open.”
What these super-distributors share are impressive platforms for managing a high volume of content and paying a geographically distributed network of producers. Over time, I think we’ll see some of these distributors start developing premium brands that publish better, more expensive writing. So while the pay may be paltry now, they bear watching.
As you navigate the new media landscape, which of these lessons are you likely to apply and why?
Posted by Admin Team on Thu, Feb 11, 2010 @ 03:25 PM
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."
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.
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