Post Round-Up: 10 Posts New Freelancers Should Read

So, it's St. Patrick's Day but I've spent the afternoon working. I'm in the final stages of finishing the galleys of Six-Figure Freelancing: The Writer's Guide to Making More Money, second edition; it goes to print once I approve them. I have to say that the updated version is even better than its predecessor--partly because there's a lot more stuff in it (new chapters on marketing and on writing books, advice about social media, and new advice from successful six-figure freelancers--along with a dozen queries, eight letters of introduction, and five proposals), and partly because I'm just a better writer than I was ten years ago, when I wrote the first edition. I'm not bragging--that's what happens when you do something for years. You get better at it!  

And I will have Dollars and Deadlines: Make Money Writing Articles for Print and Online Markets available in a print edition in the next week or so. Been busy with that, too. In other words, I am swamped with things other than my blog, so I'm hosting another post round-up. And I have a question for my readers: Do you have any great promotion ideas for me as I launch Improvise Press' first two books? I'll be doing some giveaways; writing articles and blog posts for a variety of markets; seeking reviews; and hosting some events for freelancers in coming months. And yes, I will Tweet about it. But I'd love to hear from you! Please let me know. 

Okay, now for our post round-up--10 posts that every new freelancer should read: 

* If you want to write articles for print and online pubs, you have to be able to write a compelling query. 
* The other essential tool in your marketing toolbox? The LOI, or letter of introduction. 
* If you lack experience, you should be pitching the FOB, or front-of-book, section. Here's why.
* Don't be afraid to follow up. In fact, plan on doing it with every pitch. 
* Focus on relationships, not assignments. 
* Worried about interviewing someone? Five tips for better interviews.
* Use the "TK" trick to write faster, or "swim like a shark," as I say. 
* Make your editor love you--it's not that hard. 
* Know the perfect time to pitch an editor. 
* Understand what attributes play a vital role in your freelancing success. 

--Til next time! 

Another Worry of New Freelancers: Do Editors Steal Ideas? (and How to Prevent it!)

I'm revisiting some classic freelancing topics over the next few weeks. Every time I speak about freelancing, I hear from at least one writer who is afraid to pitch an idea to a magazine--because the editor will steal his or her idea. 

Here's the thing. It happens less than you might think. Magazines tend to run the same types of stories over and over. Parenting publications run stories on discipline, sleep, and children's health, for example while fitness magazines run workout and diet stories every month. So just because you pitched a piece about ways to work out on the beach to a magazine like Fitness and the editor rejects your query (or you never hear from her) and then you see a beach workout a few months later, that doesn't mean she stole your idea. (Now, if you had pitched a piece on a new cutting-edge workout that no one has heard of, and the same thing occurred, then maybe, yeah, she took your idea.) 

Here's what I mean. Early in my freelance career, I was pitching dozens of different markets. I was thrilled when one editor took the time to call me and ask for story ideas. I spent a lot time coming up with a specific idea, researched it, and mailed the query. I didn't hear anything from her, so I followed up on the query. Still, no response. Still, I sent her another idea...and then months later, I saw “my” idea in the magazine, right down to the specific sidebar I’d suggested. A little strange, huh? 

Wondering how I handled this? I stewed about it for a while, then decided to send her a new query. I opened with language like "I was delighted to see you included a piece on aquatic fitness in the August issue, an idea I'd pitched you back in January. This lets me know I'm on the right track, and I have another idea for you to consider." She never responded. Here's the thing. I'm 99 percent sure she stole my idea. Remember this was an editor who contacted me personally, asking for ideas...and then never responded to me. I didn't even want to write for her at this point or accuse her of anything, but I did want to let her know that I knew  what had happened. And no, I never heard from her. (Footnote--the magazine folded a year or so later.) 

So, how do you prevent an editor from taking your idea and assigning it to another writer? YOu write the best query you can--it's your only opportunity to make a first impression. Your query should demonstrate that you’re already researched the story idea. If you’ve already spoken to possible expert sources, quote them in the query. Cite statistics or recent studies if relevant. If you're pitching a profile and you’re received the subject’s permission to write about him, include that information. And highlight your unique qualifications in your ISG. Your goal is to convince the editor to let you write the story. A detailed, professional query that demonstrates why you’re uniquely qualified to do so is the most effective weapon you have as a new writer.

Readers, what about you? Has an editor ever "stolen" your idea? How did you handle it? 

***Are you a new freelancer who stumbled onto my blog? Welcome. If you want to make the jump from unpublished to published (and it's a big one), check out my new ebook, Dollars and Deadlines Guide to: Selling your First Article. You'll find everything you need to know to get to published and paid! :)     

9 Ways to Develop Regular Clients

My latest piece, "nine ways to develop regular clients," is out in the February issue of The Writer (I'm a contributing editor there). I suggest you check it out; the ability to create and sustain lasting relationships with your editors and clients is critical to your success as a freelancer. But here's a preview of the nine techniques I suggest in the article:

1. Beat your deadlines. This isn't that hard!
2. Don't make it personal. No one likes criticism, but learn how to take it.
3. But do keep it personal. A personal relationship with a client never hurts.
4. Pitch regularly. Failure to do this is a major mistake.
5. Exceed expectations. Yeah, it's business-speak for go the extra mile. Do it anyway.
6. Expand your reach. Continue to develop your skills--you'll be more valuable to clients.
7. Express appreciation. You probably already know that I'm a big believer in saying thank you!
8. Think honey, not vinegar. In other words, be nice to your clients. Even (or especially!) when they annoy you.
9. Never say never. I don't believe in one-shot stories, and I try to avoid one-shot clients. I try to touch base with former clients several times a year; you never know when a one-time client may become a repeat one.

**Please keep those survey responses coming! I've already gathered 158 responses to my 2012 freelance income survey, and will post the results in a week or so. If you have taken it already, thank you! If you haven't, would you take a couple of minutes (it will take you less than five!) and do so...and please pass the link on to other full-time freelancers, too. I'd like to get at least 250 responses this time around. Thanks! :)

Another Way to Make your Editor Lose Your Number

Great minds think alike; to follow up on my post about 10 ways to make your editor to lose your number, check out this post on what pisses editors off from the Renegade Writer.

10 Ways to Make Your Editor Lose Your Number

Sure, I've already told you five things your editor would love to hear, and five ways to make your clients love you. Let's take a look at the flip side, and talk about 10 things that make editors crazy:

1. Miss your deadline. Worse yet, miss your deadline and go AWOL. That happened to an editor of mine--not only did the writer fail to turn in her assignment, she ignored my editor's (increasingly upset) emails and phone calls! If you must blow a deadline, let the editor know in advance, and come up with a plan to get the story done as soon as you can.
2. Pester him too much. You already know I'm believe in following up on queries and LOIs, but I do give potential clients and editors a chance to respond. And I typically limit my follow-up emails to one, two if I've written for the client before. Then I move on.
3. Argue/complain/bitch. You know what? I'm just a hired gun. My editor knows her publication and her audience better than I do. That's her job. So if she doesn't think my pitch will work for her magazine, or wants me to take another crack at the piece, I'll honor her decision without pitching a fit.
4. Fail to respond. Yeah, I know that editors take weeks or months to get back to you. But it's different when she's gotten in contact with you. You need to reply ASAP--or in 24 hours, if possible. No, it's not fair. But that's freelancing.
5. Make it personal. This is similar but not quite the same as #3. Say I ask for more money, and my editor tells me she can only pay writers $1.25/word and I was asking for $1.50/word. I may not be thrilled, but I'm not going to blame her for something that's likely out of her control.
6. Call her. Editors hate phone calls. They just do. (I do break this rule but only in rare instances.)
7. Forget what he wants. Check over your assignment letter (or your notes, if you don't have one) about what the piece was to contain before you turn it in. It looks dumb when you submit a story that's missing a sidebar you agreed to do, or that you went 300 words over word count because your "3" in 1,300 looked like a "6."
8. Do sloppy work. Proofread everything before you turn it in. Double-check the spellings of people's names, that you haven't confused "your" and "you're," and that you're not missing anything. Yes, I've turned in stories with errors--small ones. But when your stories are riddled with mistakes, you create more work for your editor--and trust me, he doesn't want or need it.
9. Forget to say "thank you." She's probably got dozens, maybe hundreds of writers who would love to work with her. Make sure she knows you appreciate her. (That's one of those 5 things!)
10. Gossip about her. Years ago, I was in NYC having coffee with an editor and she told me about a freelancer who had resisted her suggested edits--and wrote a scathing email to her friend about it. Except that said freelancer accidentally sent the email to the editor. That's a mighty big oops! And a really good reason for never putting anything negative in writing. You just never know who might see it.

While they may pay your bills, editors are people, too. (Really!) Treat them with respect, avoid driving them crazy, and you'll be rewarded with more work.

***
My local speaking gigs last week went great, and spiked a bunch of sales on my book for fledgling freelancers, Ready, Aim, Specialize! Create your own Writing Specialty and Make More Money. Thank you to all who bought it, and let me know here if you have freelancing questions that aren't addressed in it or Six-Figure Freelancing: The Writer's Guide to Making More Money.

And don't forget, this Wednesday, Februrary 16, I'll be in downtown Chicago speaking at CWIP's Freelance Edge program. Next week, Thursday, February 24, I'm presenting on "Six-Figure Freelancing" at the Off-Campus Writers Workshop in Winnetka. Hope to see some of my followers there!

Five Things Your Editor Would Love to Hear

To succeed as a freelancer, you must be able to create and maintain relationships with a variety of others--editors, clients, sources, PR people, and even other writers. Yet writers often overlook the fact that what I call "client maintenance" is a large part of your job.

Think about it: if you're an editor and have your choice of freelancers who have similar writing/reporting skills, wouldn't you rather work with someone you like? Or at least helps make your job a little easier?

Here are five things every editor would love to hear. Why not work some into your repertoire?

• "No problem." This is my standard response when an editor has a request, whether it's pushing up a deadline or asking me to revise a piece ASAP. As long as I can do it, I will. I may not be thrilled about having to do it, but I'm not sharing that fact with her.
• "Thank you." It's basic manners to express gratitude. I thank my editors and clients for assignments. I send a quick email to say "thanks" when a check arrives. I let clients know I appreciate them--and the same goes for PR people who come through with a source in a pinch, and the sources themselves.
• "Nice job." If I get to review galleys, I tell the editor the story looks great. Only in a few cases have I had editors butcher a story; almost always, their work makes my work read better. And I let them know that I recognize that.
• "When would you like this by?" When an editor assigns a revision or asks me to adddress a few TKs, chances are she needs it ASAP. Asking her about her timeframe lets me answer with my standard "no problem," and then bust my butt to get it done.
• "I understand." In some cases, when I ask for more money or to change a contract (say, from an all-rights one to a less restrictive version), the editor says no--because she's unable to pay me more or change the contract. I'm not going to chew her out over it--if it's not within her control, it's not within her control. I get it--so I let her know.

Get the idea? Taking a personable yet professional approach makes your clients happy--and that means they're more likely to become regulars.

Ten Good Reasons the Editor Said "No"

When you freelance, rejections are part of the territory. In fact, I don't tell students what to do if they get rejected--I tell them what to do when they get rejected.

But new writers (and even experienced ones) often wonder why. Why didn't their pitch sell? Why did the editor say no? Or worse yet, why did the editor fail to respond?

In no particular order, here are a few of the most common reasons:

1. You misread the market. Your idea may have been excellent, but it wasn't right for that particular publication. Remember, your query should answer the question, "why will readers care?"

2. Your editor actually loved the idea...so much that she's already assigned something similar to another writer, or has a piece like it in inventory waiting to be run. Sorry--you can't do anything about this reason, but at least you know it's not you.

3. She never got it. That's why following up is so critical. How can an editor respond to something she never received?

4. You pitched an idea that would be assigned to a staff writer. Make sure you read the magazine's most current guidelines so you know what types of work is assigned to freelancers. Pitching something that would be written in-house shows that you didn't do your homework beforehand.

5. You didn't provide enough detail about how you'd approach the story. How long will the piece be? What kinds of sources will you interview? How will your structure the article? Will you include a sidebar or two? The more detail you provide, the easier it is for your editor to envision your piece--and say yes to you.

6. Your query is sloppy, whether it has mispellings, grammatical mistakes, or other glaring errors (like spelling your editor's name wrong). To an editor, sloppy query=careless freelancer.

7. You pitched too late. In other words, you queried a holiday idea to a national magazine in October. Magazines have varying lead times, so make sure you've giving yourself plenty of time (typically about six months for national pubs) when you pitch a seasonal topic.

8. The editor is overwhelmed--and hasn't had a chance to read it yet. That's another reason to follow up on every query you send. You're not being a pest; you're being a pro.

9. Your idea is nothing special. To set your query apart, don't pitch an idea like "five simple ways to lose weight." A unique or counterintuitive spin, like "eat more, weigh less" or "laugh yourself thin" is more likely to stand out--and sell.

10. She thinks you stink, she thinks your ideas stink, she thinks your work stinks, and she wants you to lose her contact info--permanently. Kidding! That may be the first thing you think of when you get a rejection, but this isn't why editors reject you. More likely you just had the wrong idea for the wrong editor at the wrong publication at the wrong time.

Readers, what do you think? Have I missed any of the major reasons editors say no?

Mistakes Happen...Even to Me

Want to set a goal for yourself? Here’s a good one. Turn in every story you write early.

In 13+ years of fulltime freelancing, I’ve turned in all but four stories (and ALL of my books) early, at least a day or two (often even a week) before deadline. I like getting work off of my desk, and I’ve become known as “that writer who always turns stuff in early.” There are worse things to be known for...and I recently discovered one more advantage to being so anal about deadlines.

Several weeks ago, a colleague told me about a possible reprint market. An editor she knew was looking for health stories to reprint for a condition-specific magazine, and she thought of me and gave me his name and contact info. Even better, she told him about me and that I’d be in touch.

Within an hour, we'd connected via email, and he soon asked to review several stories. He liked one in particular, and asked me to rework it a bit to better fit his audience. No problem. We agreed I’d cut it by about half and aim it at an older demographic of both men and women. (The piece originally ran in a woman's magazine.) He gave me a four-day deadline, and I turned it in two days later. I’m good.

Or maybe not. Later that day, I was at the park with my kiddos and received an email from him. “Hi Kelly, got the article but this isn’t quite what I was expecting…. This isn’t written for an older adult recently diagnosed with serious health conditions and it singles out women (whereas our mag also goes to men). Plus it’s well over the 700-750 word limit.”

OMG! You already know what I did, right? I attached the wrong file. Instead of the 700-word piece he’d requested, he got a 1,900-word piece aimed at 20-something women on a completely different topic. I was mortified. I hate making mistakes. I left him a voice mail, apologizing profusely, and promised him the correct file as soon as I got back to the office.

Happily, he emailed the next morning, accepting the story and sent me the contract. I don't know yet whether we'll work together again. I hope so. At least I did what I could to rectify my mistake ... once I learned of it. And hey, we have a relatively new baby at home … and I haven't been sleeping well as a result...so when I sent I emailed apologizing for my oversight, I attached a picture of said baby (my blue-eyed, chubby-cheeked, gorgeous excuse).

Mistakes happen. Even to me. I admit that this isn’t the first time I’ve ever attached the wrong file and sent it to a client. But it is the first time I’ve done it with a new client. Which is not at all the first impression I want to make with someone.

On the other hand, because I turned in the story early, I was able to send the correct file and still beat my deadline without causing him any additional stress. That’s got to count for something.

What about you? What dumb mistakes have you made as a smart freelancer…and how did you rectify them?

Get More Regular(s): 7 Ways to Do It

I didn’t set out as a freelancer trying to build relationships with editors and other clients. I just wanted clips, experience, and money—not necessarily in that order. But over time, I learned. And one thing I learned is that it’s much easier (not to mention less stressful) and less time-consuming to work for a handful of editors on a regular basis than to do lots of “one-shots,” where I write for a client or editor once and then move on.

But how do you do that? How do you make an editor or client a “regular”? It’s not that complicated.

Pursue long-term markets. First off, I’m selective in the markets I pitch. I look for those that I can have long-term relationships with—which usually translates into less time pitching and more work. Sounds obvious, but I’ve written for markets as varied as The Lion to Accent on Living to Continental—but all only once. On the other hand, I’ve written for other markets—like Woman’s Day, Complete Woman, and The Writer—multiple times over the years. Look for markets that buy a fair amout of freelance work, that cover subjects you write about, and that you feel fit your voice. That will help ensure long-term relationships.

Be generous when you can. Earlier this week, an editor asked me if I could add a quiz to a story I’d already turned in. I'd originally thought about doing a quiz but the story ran long, so I didn't include it. I briefly considered asking for more money; after all, she's asking for more work. Then I reconsidered. She's been giving me a lot of work lately, edits are minimal, and I like the story assignments I get. I emailed her back and told her I’d be happy to do it gratis and turned it in the next day. (No, I don’t do that on a regular basis. I can't afford it. But I figure it’s an investment in our relationship.)

Do what you say you’ll do. I’m telling you, writers blow this all the time. Doing what you promised means more than meeting your deadline. It also means giving the editor what she asked for in terms of subject, slant, sources, and word count. It means turning in clean copy that’s free of misspellings, factual errors, grammatical mistakes, and the like. If you can’t do what you promised (say, you can’t meet the deadline), tell your editor. Don’t do what a writer I know did and simply “go rogue” and disappear for weeks. Needless to say, she never wrote for our mutual editor again!

Be low-maintenance. One of the nicest compliments I’ve ever had as a freelancer was when an editor told me I’m a “low-maintenance writer.” I know what she meant. It’s not just the quality of your wok that determines whether you’ll get assignments. Other factors—like how quickly you respond to requests for revisions (which I know we all hate!), how diligent you are about coming up with story ideas, and even how pleasant you are—can all play a role as well.

Always have a back-pocket idea. When is an editor most disposed to give you an assignment? When she emails you to say "great job on this story," "I'm putting payment through," or some variation of the same. That's why I like to have an idea at the ready to pitch--I figure there's no better time to have her say "yes" again than when she's happy with a previous assignment. Don't let too much time lapse between pitches--ideally, have a new idea for an editor within two weeks of having her accept a piece.

Stay on their radar. I’m not my editors’ only freelancer, and I know it. So I try to touch base with my regular clients every few months, even it’s only a quick email. Sure, I let this slide when I’m busy, but an email that says something along the lines of “just checking in—I’m working on some new ideas for you, so let me know if you’re looking for anything in particular” can often pay off with work. If I see a recent study, blog post, or news item I think will interest an editor, I’ll email it just as an “FYI.” No, my editors and clients aren't my buddies. (Okay, a few have become buddies, actually. But that kind of effort helps cement a relationship with someone I may never meet in person!)

Keep your bridges in place. Not all clients turn into long-term ones. That’s just part of the business of freelancing. And there are editors I don’t care to work with again. But they don’t know who they are. They just know that I am incredibly busy when they call me…and after a few calls, they move on. In the meantime, I haven’t burned any bridges—especially important as I never know where they may wind up. And who knows, I may work with them again one day…and I want to keep that option open.

What about you? How do you keep your clients happy—and keep them around for the long haul?

The 80/20 Rule

Ever heard of the 80/20 rule? It’s an old business axiom that says that 80 percent of your work will come from 20 percent of your customers. I’ve found it’s true for freelancing, and it’s one of the reasons I focus on developing relationships with editors and other clients. Just as I don’t want to write about a topic only once (instead, I reslant the idea to maximize my time and research), I don’t want to work for a client only once. That's a waste of my time.

Here’s the thing. First off, it’s much easier to get work from an editor you’ve worked with before (assuming you did a good job, of course.) Case in point: I recently sent four story ideas in an email to an editor I write for regularly. Each was just three or four sentences, a far cry from the page-long, heavily researched query I’d send to a new market. She emailed me back the next day, assigning all four ideas. Marketing time for all four assignments? Virtually nil.

Second, you’re more likely to get more money because editors often pay their regular contributors a higher rate than “one-shot” writers. I know I get a higher per-word rate from many of my markets because I’ve already proven myself—and my editors know that I can be counted on in a crisis. (I’ve turned around a feature in three days to help out an editor who had another freelancer flake out.) That makes me more valuable than "Writer X," or someone new (i.e. unproven) to the editor.

Third, when you build a relationship with an editor, he or she will often come to you with ideas, which saves you time having to query. In my fantasy life, I’d never have to pitch again; I’d just sit back, accept assignments, and write. (Hmm, my fantasy life is rather lame, isn’t it? But I digress.) And it’s not just editors who come back to you—a client I ghostwrote a book for several years ago hired me last fall to ghostwrite an article for him for a trade publication. I love work that drops into my lap like that.

Finally, clients who know you and know your capabilities are happy to pass your name along. That same ghostwriting client recommended me to a friend of his looking for an editor for his book last summer, and that led to a lucrative and fun project for me. Another editor at a custom magazine gave my name to one of her colleagues and that led to more work. If I can get my clients doing my marketing for me, I have to do less of it myself. Bonus!

So how you turn your one-shot clients into steady ones? Stay tuned...that will be my next post.