Freelancing: A How-to Success Story

IWW member Nick O'Connor gave permission to transfer his post on the WRITING discussion list to the IWW blog. It is a fine example of how ingenuity and perseverance can combine with writing skills to provide a steady income.

I've been a full-time paid writer for the last year and a half. I write insurance study manuals for a vocational school that's putting manuals online for all of the states; this is my bread-and-butter job. Pays $25 an hour and I have as much work as I can handle, hopefully for another year or two. In addition, I've contributed a dozen articles to an insurance magazine during that same time period -- 650 words at $400 an article.

I got the manual writing job by posting my writing resume on craigslist. The school's owner called me, I interviewed and turned out to be a perfect fit: I had years of legal secretarial experience and the job is essentially taking state laws and turning them into English. She had first hired a lawyer to do the job, but he overcharged and had trouble with the English aspect.

Before that, I had written one or two case studies for the insurance magazine, as described above. How I got that job: I had been unemployed for most of a year and my wife and I were telling everyone we met that I was a writer looking for some kind of work. At a kids' party, my wife met the wife of the insurance magazine editor, who had just fired a writer. She told him, I followed up with an e-mail, he gave me a chance and liked my work. The magazine job appeared on the resume that the vocational school owner saw. I have no doubt this was key to her calling me.

Before that piece of good luck, I had gotten a couple of small jobs through my craigslist resume. One, polishing a janitorial inspection manual, paid about $500 total at $25 an hour. It went onto the resume as soon as I was hired and I'm sure helped the insurance magazine editor make his decision.

Before that: When I first lost my job -- as a secretary, which I hated -- and let a hundred people know I was looking for work, the significant other of an old friend, someone I was not in good touch with, called me. She was looking for writers to contribute to a travel guidebook. The pay was nominal -- $10 for a 75 to 100 word blurb that took about two hours to write well. I wrote about 30 of those, essentially at my leisure while looking desperately for a job. This was the start of my craigslist resume.

However, before that: I've been writing for about 30 years with some seriousness, always trying to improve. I had a few small things published but was never very confident about selling my work. When I put together my craiglist resume I noted my past paid or published writing and added it.

My craigslist resume is pretty lean. There's enough substance to show I'm a serious writer, and no hype. In AP style, more or less. I end it with a quote from my hero, Henry Miller: "Until we accept that life is founded in mystery, we will have learned nothing."

Hey, Max Barry! We Love New Members!

• Listening to the ABC radio national book show where Max Barry was one of the guest speakers. He strongly recommended the writing workshop.
• I found you from this website: http://www.writing-world.com/links/critique.shtml
• I first heard of the IWW several years ago (2001, I think) when I searched for
• a writing workshop online.
• I heard about you by doing web searches for online writing groups.
• I found the site through google.
• I saw your web page on http://www.writing-world.com/links/critique.shtml
• I found out about your critique group through a friend. He recommended your group because it more organized than the critique group I was previously using.
• I found these lists through a Yahoo group - "Momwriters."
• I found you through a search engine.
• I found you by searching "Writing workshops" on Google
• I have joined a writer's group in Hollywood but wasn't too impressed with it so someone in the class talked about the Internet Writing Group and I found you!
• I found you through a Google search for “internet novice novel critique”
• I found out about IWW when i took Wendee Holtcamp's e-writing course.
• I found out about IWW when i took Wendee Holtcamp's e-writing course.
• Google search.
• I found this website when searching the net for writing courses.
• I think it was momwriters group.
• I found your site googling writing workshops.
• Ps. I found you through a search engine on the internet when I typed in “writing workshops.”
• I found your site through Writer Digest's 101 Best Websites.
• How I found you: I hardly know you. Let's start off as friends a see where that takes us.

Writing Opportunity for History Buffs

Learning Through History magazine
PO Box 1858
Cranberry Twp, PA 16066



Upcoming Topic and Deadlines
Vol. 7, Issue #1 - The Trans-Atlantic Slave Trade

The deadline for submissions for this issue is October 21, 2008.

Below are a few of the topics that we are seeking submissions on:

• West African Slave Coast
• Triangular Trade
• Cape Coast Castle
• Middle Passage: Journey to the New World
• Slave Auctions
• Destination: The Caribbean
• Plantation Life
• Southern Colonies: From Indentured Servitude to Slavery
• The Slave Codes
• Nat Turner's Slave Rebellion
• Amistad
• Slave Songs of the United States
• The Abolitionist Movement
• Frederick Douglass
• The Dred Scott Decision

• For more details, see complete freelance writer guidelines

A Report from Portland

Robert Zumwalt, one of the administrators of the novels critique of the Internet Writing Workshop, recently attended a writing conference in Portland, Oregon, and offers a few comments about what he learned there.


Noteworthy for our group: A panel of editors, a couple from some major houses, offered opinions about freelance editors, including using their services prior to submission. They were unanimous that such efforts are neither needed or appreciated. Using critique groups or other peer review is quite adequate. The editor from Tor was especially worked up about the potential for abuse by the freelancers. The agent panels were a little more friendly to the idea of professional pre-editing, but it seemed they were triangulating from a marketing, rather than creative, standpoint. This is my 15th or 16th conference and I'm beginning to see a pattern in the number of self-interested camps in publishing, all in some flavor of symbiotic collusion -- editors depend on agents to pre-screen, and some agents use free-lance editors in much the same way. In any event, while I know online critique groups such as ours are held in low esteem by many freelance editors (probably don't like the competition) publishing houses may view us differently.

Apparently, acquisition editors (AEs) didn't object to the spelling and grammar checking, but tweaking the story was another matter. They want to do it themselves. I suspect it's a turf thing. If the story has been reformulated to suit the taste of the freelance editor, then the AE is getting second-hand goods and might well wonder what the author's original intent may have been.

In spite of the AEs' veiled distaste for them, I think free-lance editors who've made it to the inner circle have become a second line of defense for the AEs -- not unlike agents. The AE from Tor decried the quality of unvetted submissions (quick to say we lambs attending the conference would be miles ahead . . .) If someone has paid a free-lance editor however-many thousands to have their story edited, then it shows serious intent. Story premise and compelling interest are another matter.

The point I took from the panel was that the quality of what we offer in our critique lists passes muster. On the issues that matter to the AEs, our participants stand favorably with those who've hired editors. Of course once the contract is signed with the publisher, their staff are going to clean up any MS way beyond what comes out of the Novels-l submission/critting process. But that would happen with a professionally edited MS, as well.

While I've never heard of any formal arrangements between freelancers and agents or publishers, they are in a relatively small circle where many know one another, and mutual back scratching is a way of life. For instance, all the conference workshop staff (many are freelance editors) along with agents, etc., have private conference meetings, just like we admins. They see one another at conferences again and again. The devil you know is at least market savvy. How many times have you seen in a conference brochure how Mr. So-and-so, freelance editor and long-time workshop leader, has shepherded somebody's MS to publication? They don't do it for free.

Conferences are a source of customers. The industry has a refined system of nepotism, and the latest step in the evolution of gatekeepers seems to extend beyond the agent to freelance editors who know agents and promise an introduction if you use their services. One free-lancer I know confided she was on tap for a major, unidentified publisher, but she didn't name names. The allure of the undisclosed.

Thoughts on Self-Publishing

by Jack Shakely

To actively avoid all independently-published books is like saying you'll never listen to a garage band. There is some good stuff out there if you know where, and how, to look.

In the interest of full disclosure, I should tell you I am the author of a self-published historical novel, The Confederate War Bonnet. During my research for this book, which deals with the Creek nation in Indian Territory during the Civil War, I found that many of the books, both fiction and nonfiction, that dealt with this Civil War backwater were self-published. In a few cases the books, even some of the less polished ones, were so chock-full of information and anecdotes that they were very much worth the read.

Eventually I met other historical novelists on-line, and we discovered that most of us were self published. Last year we formed a loose affiliation called the Independent Authors Guild. It's still very much a work in progress, but it's a start on a segment of the book publishing world that is bound to grow as the number of agents, book stores and traditional publishing houses diminish.

Here are some things I have observed: the best independent books are likely to be found in historical nonfiction, historical fiction and memoirs. The reason is obvious -- these are often first-person accounts or thinly-veiled family histories that traditional publishers felt didn't have enough potential audience to justify the expense. Some of these books are darn good.

Many self-published books, of course, are just plain lousy. I have found this especially true in the romance fiction, science fiction and erotic fiction genres. And you might want to avoid books with titles like Twenty Things Mr. Whiskers Taught Me About God, especially if there is a photo of the author and a cat on the cover.

Increasingly, however, through sophisticated key word searches, Amazon's "Search Inside" feature, growing on-line book review opportunities, and author web sites that allow the reader to "sample" a book the same way we can sample a musical album, you can get a pretty good idea of the quality of a book before you buy.

The future success of publish on demand books may be when large independent publishing houses, like Amazon's Book Surge and Barnes and Noble's Author's House/iUniverse, provide publishing plateaus that are earned, not purchased. iUniverse has something like this with its "editors' choice" and "publisher's choice" designations, but it is not industry-wide and not fully understood.

Don't give up on self-publishing just yet. It has a long way to go, but it is light-years ahead of the old vanity press days, and developing technology is going to make it even better.

---

• Find Jack Shakely's The Confederate War Bonnet here on Amazon.
• Check out The Independent Author's Guild here.

Selling Reprints

Long-time Internet Writing Workshop member Peggy Vincent, author of Baby Catcher: Chronicles of a Modern Midwife, recently discovered this article by Moira Allen on the Writing-World.com website.

When selling the reprint itself, you will generally offer nonexclusive "second" rights or "one-time" rights. "Second" serial rights can be sold over and over; the term simply indicates that the publication is no longer "first." (In other words, you don't have to worry about keeping track and offering "43rd serial rights.") Most reprints are sold "nonexclusively," which means that you can sell the same reprint to more than one publication, often at the same time. Sending out "simultaneous submissions" of reprints is also a little more acceptable than sending out simsubs of an original article; just be sure that the reprint isn't going out to competing markets.

• Read the complete article, Selling Reprints, here.

"It Ain't That Easy, but It Can Be Done"

A discussion began recently on the Writing list of The Internet Writing Workshop about the initial publications of famous writers before-they-were-famous.

Dawn Goldsmith, a writer whose essays appear regularly in The Christian Science Monitor, posted an interesting response.

I believe the way to publication is first: strong writing -- of course.

But also build your writing business. Network, market, learn to be a professional about all aspects of the writing business, know your markets and what they want, give them something they aren't finding elsewhere, be persistent. Associate with other professionals. Join organizations and do what it takes to establish contacts and links and friendships so that more and more people will know you and your work. Educate yourself. Never submit anything that isn't the best you can do. Don't slack, don't be lazy, don't fear to try something new or push yourself to grow and get better.

Take workshops. Meet and greet editors and those who can help promote your writings. I know this works for nonfiction and I feel certain it works for fiction. Target the markets you need to get your work seen. Find out what literary magazines the editors and publishers and agents read and watch for new talent. Find a mentor.

Join groups like IWW or writing groups so that you can help each other. It doesn't hurt if you have published authors in those groups who are willing to help you get your work seen. Enter contests -- those that will get your writing before editors, agents, and publishers.

And don't sell yourself short. Don't dream too small, either. If you have something that Playboy would publish -- submit it. I think that King's success in Playboy, etc. may have fit his style with that market. Find your niche and go after it. Stephen King had a new voice, a new style, a new genre -- he wrote what he felt the need to write and he did the best he knew how. I think the key really is to follow your own writing needs. Whatever you really want to say -- say it. And then find the market that wants it. The stories, the novels, the movies, the documentaries -- we remember the ones that moved outside of the mainstream or the norm and made a new statement.

Marketing and Yahoo'ing

A Lesson in Marketing
by Karna Converse

I had a phone call this week from an editor whose e-mails to me had been repeatedly returned as SPAM. She offered me an assignment ... and I accepted. I'll be writing 15 short devotions for a Lutheran devotional booklet. I share this Yahoo for two reasons:

1. I sent a query letter and writing samples last May. The editor informed me late last summer that she'd already made that quarter's assignements but would keep me in mind for March '08 assignments. I was planning to follow up with her later this month, but didn't have to.
2. The samples I sent were pieces I'd written on a volunteer basis.

I truly believe writing and querying for writing jobs is a process.

Tips for the Serious Researcher

An Essay by Terri Main

Use the telephone. Email is fine, but there is something a bit more personal about a voice on the phone. If local, set an appointment for a face-to-face meeting. Incidentally, I've never had anyone refuse to talk to me. Maybe I'm just lucky, but it's true.

I call a specific person if I can find a name. Then I say, "Hello, Mr/Ms/Dr/_______ I'm Terri Main, I'm a freelance writer working on a story about _______________. I understand that you are an expert about this subject and I would like to arrange a time when we could talk on the phone about it. "

I have my questions handy in case they say, "Well, why not now?" but I have given them the courtesy of offering to call at the most convenient time.

Use referrals. At the end of each interview, I ask, "Is there anyone you think I should talk to about this?" Then I use that sources name when I call.

Check the universities, colleges, community colleges and even high schools. By their very nature schools are repositories of experts. You can find out about police procedure just as easily by talking to an Administration of Justice professor at a college based police academy as you can from a police officer, probably more, because the cop can only tell you his personal experience whereas the professor (who is usually a retired cop) has information about various police departments, and is not bound by department protocols.

Make friends with the PR people. You can often arrange interviews through them. They aren't trying to keep you away from anyone. Most want as much publicity for their organization as they can get. Unless you are writing an expose or something like that, they will often arrange the interviews for you. It's just that they have a legitimate need to have a central clearing house for information to pass through.

With universities again, get on their mailing lists for press releases. You'd be surprised what you can learn from them and get a list of experts to consult later.

Check out nonprofits. The heads of places like the local American cancer society can possibly put you in touch with or even arrange the interview with a local cancer researcher.

The Funny Times

Tim Bete of the Erma Bombeck Writers' Workshop Newsletter says, "Here's the break you've been waiting for. Ray Lesser, co-publisher and editor of The Funny Times, is looking for submissions. If you haven't heard of The Funny Times, it's a monthly humor publication that's been around for 20 years and has more than 70,000 subscribers.

"Ray recently told me that he's looking for talented writers and cartoonists. He accepts reprints and pays a minimum of $60 for a column or article. The Funny Times has featured many nationally-known humorists, including Dave Barry, Garrison Keillor, Andy Borowitz, Lynda Barry, Matt Groening, and hundreds of others.

"Perhaps the coolest thing about The Funny Times Web site is the new Cartoon Playground, which allows anyone -- even if they can't draw a lick -- to make and publish cartoons."

Basic Info for Beginners

Basic Info for Beginners
by
Carter Jefferson

Recently I've run across a couple of promising writers in the IWW who don't know some things most of us do know. There may be others. This is intended as a remedy for that situation.

Most paying venues, and even non-paying e-zines, won't accept writings that have been "published" elsewhere. Putting your work on a blog or website, or making paper copies and passing them out to strangers on the corner, is "publication." You can, of course, re-work something that's been published, but how much you have to do to make it "unpublished" is a matter for debate.

Submitting work to a critique group limited to members, like the IWW, is not publication. Showing work submitted to such a group to any non-member is always against the rules of such groups.

Blogs are not private; anything you post on the Web can be read by your mother or Hugo Chavez or Dick Cheney, among other people, including your employer.

You hold the copyright (not copywrite) on anything you write, including your grocery list and whatever you e-mail. If someone copies and publishes your work without your permission, it's usually easy to make that person stop doing that--e.g., remove it from a website--but you can't collect monetary damages unless you have filed a copy with your national copyright office. Info on this is easily available on the Web.

Plagiarism is copying the work of someone else and using it for your own ends. It's illegal. Paraphrasing is usually all right if you give credit to the author, and you may use short quotes, properly credited, for "educational purposes." How short, and what "educational purposes" means, can become money in the pockets of lawyers. Those are case-by-case matters. Be careful.

If you eat too much, you'll get fat -- oh, yeah, you already knew that.

What is a Writer

What Is a Writer
By
Florence U. Cardinal

What is the definition of a writer? A writer is, simply put, one who writes. Nowhere does the definition say a writer is one who gets paid for writing. Nowhere does the definition state that a writer is one who has his or her writing published.

I am a writer. Therefore, I write. Sometimes I write ceaselessly, for hours or days or even weeks at a time. Then, having written, I take off my writer's hat and become - a marketer.

The Marketer
A marketer, simply put, is someone who markets. As a marketer, I search for publications, whether magazine, newspaper or ezine, that might be interested in what, as a writer, I have produced. Occasionally I am successful and sell what I have written, even less occasionally, for a fair sum of money. More often than not, I am unsuccessful, so I put the writing away for revision or perhaps only another try at a later date. But this process makes me no less a writer.

Freelance Writer

A freelance writer is one who writes what he wants, where he wants, when he wants. Most writers do, at least to some extent, fall into that category. Only those writers who work at a corporate level producing, perhaps, ad copy or company brochures, are not really freelancing, but again, they have chosen to do this.

I write a regular weekly article for the same publication. But I chose, and still choose, to do that. I also write other things. Sometimes a publication sets a deadline but that makes me no less a freelance writer, because I have chosen to write for this publication and to adhere to the rules and deadlines set by the editor.

Creative Writer

What is a creative writer? Simply put, a creative writer is a writer who creates. Again, this is all writers, because, whether we write fantastic opuses about life on a distant planet or an article on why eating spinach is good for you, we are still creating. We are painting pictures with words although those pictures are as different as -- well -- a bump by bump tale of a ride in a rocket ship gone mad or an egg by egg recipe for a spinach omelet.

And this brings us full circle, back to the original question: What is a writer? Simply put, no matter what you write, where you write or when you write, a writer is one who writes.