Setting Up a Cross Platform in Social Media

Social media isn’t just about Facebook. In fact, there are many social media networks, each catering to a specific group of people by age or special interest.  To be successful in social media as a writer, you have to post on several different platforms and then link them together in your own social media network. Doing so brings followers from one platform, like Facebook, to another.

The main social media platforms are Facebook, Twitter, Instagram, Google+, YouTube. The last one is mostly for posting videos, but that doesn’t mean that you can’t use your smartphone to post a video of you in action once in a while.

So what exactly is a cross platform? To be successful in social media, you have to spread the word about yourself and your work to other networks. But it shouldn’t end there. Once you’ve begun regularly posting on the other networks, it’s time to link them together by sharing posts. Each time you share a post, another group of people see it. And so do their friends. If each person shares your post with just one other person and that person shares your post with one other person, your message will reach lots of people.

Facebook
So where do you begin? Once you’ve established yourself on Facebook—use it as your base of social media operations—you can venture forth to other social media networks. You might choose Twitter next. People on Twitter read their feeds almost as much as those on Facebook. Here, your posts will be shorter—even though Twitter recently increased the number of characters for each post from 140 to 280. Just because the network allows you to write longer posts doesn’t mean you should. Twitter readers are in the habit of reading short blasts, and they probably won’t change their habit for a while.

Twitter
Write a post on Twitter that’s related to the one you posted on Facebook. But don’t stop there. Be sure to add an image to your post. This can be hard if you’re posting about writing, but if you post about the subject you write about, it should be easier. You can also set it up so that you can automatically share your Facebook posts on Twitter. However, you cannot do the reverse.

Instagram
Now that you’re posting on the two primary networks, it’s time to check out some of the secondary ones. While users of Instagram will probably disagree, this network is a hard one to break into for writers because it definitely relies on image posts. In fact, you begin with an image and then add a caption to it. Also, you must have a smartphone to post on Instagram. While you can access Instagram on your computer, you cannot post from it.

Google+
Another secondary network is Google+. Its posts work much like Facebook, but its user base isn’t as large. In Google+ you can either post only text or text with an image. You used to be able to directly share your Google+ posts with Facebook, but now you have to physically post on Facebook, linking to your Google+ account. It’s a little more time consuming, but it works.  If you have images to share, you may want to set up a Google+ Collection. This is an image-based division of Google+ in which all your posts focus on one subject. Within it, you’ll find lots of photographers, antiques collectors, and such who post images related to their subject. Like Instagram, the image is the main thing, accompanied by perhaps a paragraph of text. You used to be able to share your Google+ posts directly to Facebook, but now you have to physically copy it and create a separate post on Facebook using the same text. Of course, you can still directly link to your Google+ account in your Facebook post.

Creating a Cross Platform
You should begin cross linking your posts as soon as you have one other social media network besides Facebook to which you’re posting. Try linking your Facebook posts to Twitter. Then slowly add another network, again linking the posts on it to Facebook and vice versa. As you add more networks, you can continue doing the same thing.

Let’s look at an example of how this works.  Let’s say you specialize in writing about antiques. You can do posts about the history of objects, their uses, historical anecdotes about them, their status with collectors, even the status of the current market. The list goes on and on. So you might begin by introducing the object on Facebook and mention how well it’s doing in the current market. Then you could do a post on Twitter that links back to your post on Facebook. If you’re on Instagram, you can post an image of the antique object and note a quirky anecdote about it in the caption. Finally, you could post an image of the object on Google+ and write a short paragraph about its history or how it originated. Naturally, you’ll want to repost a sentence on Twitter that includes a link to your Google+ post. You can then link your Twitter post to Facebook, putting you right back to your network base, but now with a different angle than your first post.

By building a cross platform, you’ll soon increase the number of your viewers across the board. But you must be patient. Social media doesn’t work overnight. It can take several months for your posts to get noticed. In the meantime, read, share, and comment on  other people’s posts in your social media accounts.

Learn more about me on my Web site, Writing at Its Best, and on my Facebook Page.

Let's Get Social

Social media is here, whether you like it or not. At the same time, more and more writers are pursuing online publishing, filling Amazon’s inventory with all sorts of ebooks. Many of these writers have turned to Facebook and other social media platforms to promote their books. Unfortunately, just as many find that even with diligent attention to social media, they’re promotions are going nowhere. Why is that?

The trick behind using social media outlets is to connect like-minded people. But the group most writers seem to attract is other writers. Other writers won’t necessarily buy your books or send other writing work your way. They’re too busy trying to sell their own books and writing services. So who do you connect? Readers.

Just saying “Buy my book” won’t get you additional readers. But getting your readers interested in your subject will. Some social media users even try connecting their followers to other followers.

There was a time when Facebook was for making friends. And though it still has that friendly environment, it has matured. If you don’t have an author page, if you write books, or a business page, if you do other types of writing, you should definitely set one up. This is your professional or “fan” page. It’s the page that will keep your fans, that is your readers, up to date on your what’s happening in your professional life. Readers “like” this page. They aren’t there as friends but as customers or buyers. 

Your professional page is where you offer readers some extra value—a behind-the-scenes look at your work, for example.

Use your page to promote your writing, but also use it to ask your fans why they like your work. Facebook is the type of social media platform that encourages readers to share their personal insights and lives much more, and you can capitalize on that through your page. Ask questions, run polls, offer contests. Interact with your readers in a way not related to your books or other writing, then use the feedback you get to become more personal to your fans.

Offer your readers some insights into your subject matter. For instance, why you chose a particular location for your novel or what makes you passionate about the non-fiction subject that you last wrote about.

And don’t forget to use images. Facebook users thrive on them. Have photos taken of you signing your books or have someone else take a few, even with their smartphone. Or you might take photos of the locations of your short stories or novels, if they’re based on real places. Text only posts on Facebook rarely get much attention. You need to pair your text with an image or a meme.

If you attend writers’ or book conferences, be sure to take photos and bring your readers with you. Post different ones every day. Too many writers are afraid that if they mention or show the work of other writers that they’ll move away from them. Why do you think so many businesses set up shop near other businesses of the same type? Competition is good for business.

Encourage your fans to share your posts with their friends on Facebook. Get them to talk up your books. After all, they like them or they wouldn’t be following you on Facebook. Ask them to help you find more fans—but not too often.

Be careful about encouraging likes from other writers who want you to like their page in return. That will get you a bunch of likes, but it won’t get you anywhere with your promotions. That’s the only reason they liked you to get a like back.

Next Week: Setting up a Cross Platform

Learn more about me on my Web site, Writing at Its Best, and on my Facebook Page.

A World Without Readers

What would writers do without readers? As the old saying goes, “If a tree falls in the forest and no one is there to hear it fall, did it really fall?” “If words appear on a page and no one reads them do they really exist?

Well, yes. Unlike the trees in the forest, books in libraries all over the world contain the words of thousands of writers. But if no one reads them, what good are they?

Words are a writer’s stock in trade, but many beginning writers seem to think that just the act of writing is enough. To complete the communication process, all writing needs to be read.

It used to be that writers were limited to the printed page. If you wanted more than one person to read your work, you had to get it published. Competition in the publication arena is tough, so beginning writers had to spend much of their time pitching story ideas to editors. And while this is still a big part of the market, there are lots of other possibilities. And as the slogan for Mastercard says, “Master the Possibilities.”

Besides print publishing there are lots of other venues where readers can read your work. However, it’s important to understand what type of reader you’ll find in each. Don’t go looking to readers to provide criticism, constructive or otherwise. You should leave that to other writers—people who know writing.

The average reader reads for enjoyment or information. They don’t read to give feedback to the writer. In fact, most people don’t read in detail. Writers, on the other hand, should know how to read like a writer.

So it’s important to know your readers. Let’s say you post something you wrote on Facebook. People generally use Facebook as a quick way to catch up on what’s happening with their friends, as well as people they don’t know—Facebook calls these people “friends,” also. If you post an article or a very short story in the Notes Section of your Facebook page, chances are that very few people will read it. You could post it directly, but even if you do, most people will just skip over it.

Posting a piece of your writing on a writing Web site or creating a site of your own will guarantee that you get the most readers. Blogs are a good example of this. But readers won’t flock to your site or blog just because you wrote it. You have to promote it. Now this is where Facebook can help. By creating a post that includes a link to your article or short story, readers, many of them accessing Facebook from their smartphones will probably take the time to go there and read—or at least skim over—what you wrote. Blogging programs, like Google’s free Blogger, allow readers to post comments.

By devoting a little time to promoting yourself and your writing on social media—Facebook, Twitter, LinkedIn, etc.—you’ll be surprised how many readers you can attract from all over the world.

A publisher printed 5,000 copies of a writer’s book, of which only 3,500 sold. That doesn’t necessarily mean that 3,500 readers read the entire book. Some people stop reading after the first chapter. That same writer created a Web site on which he posts articles in his field of interest and now the site gets over 17,000 readers a month. It’s as simple as doing the math. In fact, more people read writing of all kinds online than all the books put together.

So remember, a writer without readers is like a musician without listeners, a teacher without students, a garbage collector without trash. Knowing that someone will be reading what you write will motivate you to write more. Too many beginning writers keep journals in which they're both the writer and reader--the only reader. To be successful as a writer, it's important to write for the reader, not for yourself. And the more readers, the better.

To read more of my articles and book excerpts, please visit my Web site. And to read more articles on freelance writing, grammar, and marketing, go to Writer's Corner.

Organization is Paramount

Readers see only the words on the printed page or screen. They have no idea of all the words that pile up to get those particular words in front of them. While some people think writers pull their ideas and words only out of their heads, most writing requires research—and lots of it—as well as draft upon draft. All this research and drafts must be kept in order to keep any writer from going insane.

To be a success as a writer, you have to be organized. Have you ever been in someone’s office and all the desks are buried in piles of paper? While those who work in that office most likely know what’s what, any new employee or some hired to take over while another is out sick may find the whole mess daunting. Without organization, production slows or even worse ceases.

When computers first came on the scene, manufacturers said they would lead to a paperless society. Obviously, they didn’t mean writers. In fact, that really hasn’t happened and probably never will. There are some things that just can’t be digitized.

If you haven’t done so already, you need to get organized. Many writers wait until a slow period to do this, but somehow that slow period never seems to materialize, so they just keep piling new material on top of old. Sooner or later, it’s almost impossible to find anything.

Back in the day—whenever that was—people used filing cabinets. But unless you have endless space, they’re only a temporary solution, good for newer material at best. So where do you put your archives. Big businesses have large warehouses in which they store their archive files. Or the hire another company whose business is storage to do that for them. Oh, but you say that today most of your files are electronic and you can use the Cloud. That’s all fine and dandy for computer files, but you can’t store any paper on the Cloud.

Manila folders have long been the basis for a business’s filing system. They worked back in the day and they work today. You should create a file folder for every writing project. For those projects that are big, like books, you’ll need multiple file folders and eventually a file box to store them in.

When writing a book, for example, you should create a separate file folder for each chapter, plus extra ones for appendices and the general concept and outline. You could place all your research notes for each chapter in the chapter’s folder or you could use additional folders to store them.In the end, you’ll amass a good amount of material, some of which you may want to use again.

Each article and book chapter should also have corresponding computer files—several for research, one for the rough draft, and successive additional ones for revisions and rewrites, each numbered in succeeding order.

In addition to all your writing files, you may also have a well-organized library of several hundred books. While you may use most of these for reference in researching your work. But you may also keep books you’ve read and might read again.

Go to any office supply store or search them online and you’ll discover a myriad of items designed to help you get organized. Stackable trays, for instance, look like they would be good to get clutter off your desk. But in fact they can produce more clutter. While you may plan to use them for sorting current material, they tend to get clogged up, so you’ll need to periodically  clean them out.

It’s also a good idea to keep everything you use most often closest to your desk. This can be article folders, notes, a scheduling book, etc. You may also want to keep a calendar with automatic reminder alerts on your computer. Paper calendars can’t remind you of a deadline or appointment with a sound or by flashing on a screen. If you use a smartphone, you can even set up the reminders in your phone.

To read more of my articles and book excerpts, please visit my Web site. And to read more articles on freelance writing, grammar, and marketing, go to Writer's Corner.

The Right Time

Too often writers are consumed by the content of what they’re writing. Few consider whether the subject is timely or not. To be a successful freelance writer, you have to consider whether it’s the right time to write and market your idea.

While some subjects are “evergreen,” or good for just about any time, most are time specific.  Evergreen pieces appeal to an editor any time of year. Even so, you still have to get things out ahead–at least 2-3 months for short stories and magazine articles, and perhaps a year ahead for a book idea. It’s not what’s trending now but what will be trending in the near future. In some ways, you have to be somewhat of a fortune teller to predict what readers will want down the road.

Many beginning writers get frustrated when they get rejections from publishers for their work. While the writing skills of some may be lacking, the reason for the rejection could be one of timing. Many think they can send any article, short story, or book idea in at any time and the publisher will just love it. But it all comes down to timeliness.



To market your writing successfully, you have to take a hint from retailing. Department, discount, and online stores would never think of putting out summer clothes in June or July (or December or January for those down under). Summer is already here. Instead, they put out their summer collections in April or May, several months ahead of when the clothing might actually be worn. Ads for back-to-school clothing and other items now begin to appear in July, barely a month after most kids have just gotten out of school for summer vacation.

So to get your ideas—or in the case of short stories, your text—to an editor at the right time, you have to think ahead. Whatever you’re sending out now—except articles to newspapers if you can find any to take them—should be on topics that will appeal to editors three to six months from now. This works especially well with seasonal subject matter.

Writing about events in a timely manner is another thing altogether. There are three ways to approach this—write about the event before it happens, write about it after it happens (news), and write about it coinciding with an anniversary of the event.

Most publication relations writers write about events before they happen. This produces interest in the event and encourages readers to participate or attend it. Newspapers usually publish stories about events after they’ve happened, giving readers a review of the event. Magazines like to publish articles on events to coincide with the anniversary of an event because they need to plan far in advance. Knowing which type of publication you’re targeting will allow you to know how you should write about an event.

Trending subjects can either have a short life or a long one. Articles about a political election or the election process may only be of interest to readers for a shorter time while those that concern diet trends may have a longer timeline. It’s important to know which trend is which in order to pitch ideas that won’t be outdated by the time an editor gets to them.

Seasonal pieces are perhaps the easiest to write and sell because seasons are well established. The four seasons of the year—summer, fall, winter, spring—the most general, but you also have those holidays around which retailers plan their sales—Christmas, Easter, Presidents’ Day, Memorial Day, Thanksgiving, and back-to-school. You can easily make a list of ideas for each season and be assured that most or all will sell.

So while it’s important to write well, it’s just as important to write timely pieces that you know will sell.

To read more of my articles and book excerpts, please visit my Web site. And to read more articles on freelance writing, grammar, and marketing, go to Writer's Corner.






                               

Those Pesky $25 Words

Inflation has a way of affecting everything eventually. Prices have gone up on many things you buy today. The same can be said for those writers who continue to challenge their readers by using words their readers don’t know instead of simple, everyday words to express themselves.

As little as 10 years ago, those big words were only worth $20, but the price has gone up. With the the advent of social media networks like Facebook and Twitter, more and more people are turning to plainer words to express themselves. Part of this is the use of their thumbs to peck out the words of their posts on their smartphones.

It doesn’t matter how extensive a vocabulary you have. What matters is that you clearly express what you’re trying to say to your readers. Unfortunately, that’s what wasn’t encouraged in school, and especially not in college. Academics pride themselves in sounding learned. But to be a good writer, it’s not necessary to show readers how intelligent or learned you are. It’s more important to take complex concepts and write about them clearly so all your readers will understand.

By using complex words, readers miss the nuances and only get a basic understanding of the subject matter.

A good example is a travel book entitled Mirrors of the Unseen by Jason Elliot that tells about his journeys through Iran. The majority of readers haven’t been to Iran, so they probably only know about it through the T.V. news. He writes beautifully about the culture, with its mosques and bazaars. Unfortunately, all this beauty comes at a price. It seems Elliot, like so many writers, assumes all readers have his extensive vocabulary.

In contrast is a book entitled Antarctica by Gabrielle Walker that’s filled with descriptions of complicated scientific experiments and research written against the background of the stark beauty of the world’s southernmost frozen continent. This writer, on the other hand, uses plain language and makes it seem as if her readers were traveling around with her. She presents an in-depth view of Antarctica that draws her readers in and keeps them turning the pages.

Go back and look at books you’ve read. You’ll notice that the ones you enjoyed the most probably had the most conversational language. Re-read portions of the books you liked the most and see if you can discover the essence of the author’s writing style.

Back in the early days of personal computers, there was a simple software program called PC Style. This little program would analyze a piece of writing for its use of personal pronouns, word length, dynamic verbs, concrete nouns, sentence length, etc. By running several paragraphs of a book through it, you could immediately analyze the writing style. Then by doing the same to a piece of your own writing, you could immediately see where it was lacking.  Unfortunately, that program hasn’t been available for a long time. And while some of today’s word processing programs try to do the same, they just don’t compare to it.

You can use the Find and Replace feature in your word processing program to search for personal pronouns—I, you, we, they, he, and she—for example. These are the words that make writing conversational. These are the words that make readers feel as if they’re part of the story.

You can also do a manual search for complex words—but don’t do this immediately after finishing a piece. Wait a day or two so your writing will appear fresh to your mind. When you find words that you are either long or complex, put them in bold type so you can easily find them and then use the thesaurus in your word processing program to find plainer words that mean the same thing. Do the same for long sentences. Try to keep your sentences shorter and avoid using semi-colons which tend to string them out.

Once you see the difference all this makes to your writing, you’ll never want to go back to using those pesky $25 words.  Instead, you’ll get used to using $1, $5, and $10 words to enlighten your readers about your subject. This blog is a good example.

To read more of my articles and book excerpts, please visit my Web site. And to read more articles on freelance writing, grammar, and marketing, go to Writer's Corner.

                               


       

What Makes a Great Nonfiction Book?

You’ve been writing articles for a while and would like to step up to writing a nonfiction book. While there’s a lot of information out there about writing novels, there isn’t as much about writing good nonfiction books.

Remember the Bob Newhardt Show on which the main character, a writer of nonfiction how-to books,  ran a bed and breakfast in Vermont with his wife.  The subjects of his books would have been great for insomniacs, but not all nonfiction books make readers yawn.

Today, nonfiction books have a lot of competition from the Internet. Readers can find all sorts of information online, so why would they want to purchase a book—even an inexpensive ebook—when they can search for what they need. The truth is that most people don’t really know how to search the Web, so they still need nonfiction books to give them information in an orderly manner.

It’s how a writer assembles the facts in a book that makes all the difference. The key to nonfiction book success is information synthesis. To make sure a nonfiction book is worth paying for, you need to bring your own fresh a perspective to the subject matter—a perspective that readers can’t find online. What’s more important today is your ability to synthesize the facts and give them context and perspective.

First and foremost, make sure your nonfiction book has a strong focus. It’s better to limit the focus than ramble all over the place. To do this, you’ll need to think out your book before doing research. You’ll most likely find a mess of facts on your subject. How you make sense of those facts is the key.

To make sense of all the information you collect, you need to give meaning to it. And that requires a point of view. What are your feelings about your subject? Who will be telling your story? Except for memoirs, most nonfiction books are told from another person’s perspective.

Offer insight by weaving current events and trends into the context of your book, even if it’s historical in nature.

Present the bigger picture about your subject so that readers will be able to make more global sense of it.  And if your subject is more complicated, simplify it for the average reader. Don’t talk down to your readers to prove how smart you are. Instead, write in plain language and explain difficult words or phrases.

A nonfiction book goes deeper than an article or blog on a subject. While the shortness of both only gives the reader the basics, a book can delve deeper into a subject. Take a common theme or one that has been written about heavily in the past and give it a fresh approach.

Above all, make sure your nonfiction book gives readers information in a way they won’t find it anywhere else, in a way only you can deliver it.
   
   

You’ve Finally Been Published--Now What?

Writers are an odd lot. Some write prolifically while others write one or two successful pieces and then nothing. Getting published for the first time is a tremendous goal. It takes a lot of time and energy. But afterwards, many writers feel let down. Why is that?

Most likely it’s because they focused so much on that one piece, whether article or short story, and not on all the information they gathered for it. But a professional writer knows that information is his or her biggest asset.

Many beginning writers get published for the first time, then turn to a completely different subject, marketing that to a different editor or publisher instead of building a relationship with the first.

Writing is not just about words, it’s about relationships. No matter what sort of writing you do, you need to build on past successes. If you begin at the top, you have no where to go but down, so it’s important to begin slowly and build relationships with your editors. This can be either by getting to know what a particular editor wants or building on new contacts.

For some writers, perhaps you, that first published piece is a fluke. It may not have been totally an accident—most likely you sent out numerous queries or finished manuscripts—the piece succeeded. But more than likely the piece succeeded in the wrong market. Sure, you were ecstatic about getting anything published, but it happened for the wrong reasons.

To get your career started, you need to build on that first publishing success, even if it happened in the wrong market. Editors want to know about your track record—they want to see clips of published pieces. But if you don’t have any, you’re as bad off as if you apply for a loan without any credit history.

As soon as you achieve publishing success, immediately send several similar ideas to that same editor. In fact, while you’re waiting to hear back from that publication, assemble a list of salable ideas that you can send along later. While this publication may not be your ideal, it’s better that you get more pieces published in an established market instead of trying to forge new ones.

Perhaps the editor liked your writing style or perhaps your subject. What probably happened was that the editor liked the timeliness of your subject. Your subject was right on target, even if your writing skills may not have been up to par. Take a serious look at that market and send the editor some other ideas.

It’s important to build a rapport with your editors. Normally, they don’t remain in their positions very long. Editors flit from publication to publication about as fast as hairdressers do from salon to salon. If you have a good relationship with an editor, he or she will often take you with them to their new publication. It’s usually an upgrade to a better position for them, resulting in a marketing upgrade for you, which can mean higher pay and more prestige.

Success as a writer is all about climbing the proverbial ladder. You’ve got to do it one rung at a time.

Where Do You Start to Publish Online

There are plenty of markets online. Many of them focus on small niches, which makes your chances of getting published even greater if you have a specialty. You won’t find a richer resource of publications anywhere that’s easier to access than online. However, you do need to approach submitting to online publications a little differently than you would submitting to print publications.

The Internet is growing. More people are spending more time reading online, which increases the chances of your work being read. But those who do read articles online, read about specific things. While the number of specialized print magazines has grown dramatically in the last two decades, Web sites have always been tightly focused, thus attracting specific readers—readers who are interested in the information they have to offer about their particular subject.

Good Web sites and e-zines are constantly growing their readership. Perhaps you’ll get lucky and a small ezine that only 100 people read a month accepts your work. A few months later that publication might be read by 1,000 people a month. It’s not unusual for readership to increase by over 1,000 readers in one month. Remember that the Internet is also known as the World Wide Web for a reason. If your work appears online, people from other countries who might never have read your work may do so online.


Writing for Web sites is a little different than writing for print. Generally, you’ll want to write your articles in the second person. While thousands may eventually read your work, you’re dealing with one reader at a time, so addressing them using the pronoun “you” in the second person instantly makes a connection.

However, selling to Web sites and e-zines is essentially the same as selling to print markets. Start by studying the markets. While there are a few databases that list online markets, you’ll actually be better off searching for them yourself. First you need to find them. Begin by searching for the subject you’re interested in writing about as if you were a reader interested in reading about that same subject. Google is the best search engine out there. While others may target specific subject areas, Google literally covers the world in its searches.

Another source you can try is the Directory of E-zines.

Create a special folder entitled, “Online Writing Markets,” then as you discover potential sites and e-zines, bookmark them and save them into this folder. Don’t be too particular at first. If you search for a specific subject, you’ll find what you need. Once you have found a number of sites which may be possibilities, go back and study them one by one.

How good your results will be depends on your search. To search for a specific word or phrase, enclose it in parentheses. Go back to the ones that look like they may be good markets and notice how often they’re updated. If a site sits idle for a couple of months, it’s a good bet the owner isn’t paying much attention to it. On the other hand, if a site is updated frequently or on a specific schedule much like a print magazine, then it’s a sure bet they’ll need plenty of content to keep going. Also, notice if articles on the site have been written by different people. If they’re all written by the same person, move on, because that site won’t be accepting other writers—at least for now. In print this is known as “in house” while online if could be referred to as “on site.” You may want to check back later because the owner may begin using other writers.

Once you know which markets may be good for your work, find out if they pay anything and how much. Also, determine if they have any writer’s guidelines, and if so, download a copy.

Remember, all your transactions should be electronic. If a site or e-zine owner says your should send your work by regular mail, cross them off your list immediately. You’re working in the 21st century when smartphones and computers connect many Americans.

Submitting queries for your article is the same as for print. The form is the same and so is the content. The only difference is that you’ll be sending your queries by Email included within the message itself. The same goes for the text of your articles. Make sure you send them in as a Microsoft Word document. You can use any wordprocessing program you wish to prepare them, but you must use a universal program like MS Word to send them. To be on the safe side, send your text as an attachment in MS Word 2003 or higher.

And just as with print, keep tract of your submissions. While your Email program’s “Sent” folder will do that, it’s a good idea to keep a record of your submissions in your computer, then you can easily go back to check on the status of each article submission.

NEXT WEEK: Promoting Your Online Work

Publishing Online—Where Are We Now

The Internet continues to grow as a publishing medium for both articles and books. It took a while, but readers as well as writers seem to be accepting it as a bonafide publishing venue.

This added confidence seems to be encouraged partly because of the volume of writing in the form of blogs, Web content, and e-books now available online. In addition, the number and types of electronic devices on which to read it has increases exponentially. While many readers avail themselves of this writing on laptops and tablets, an equal number or more access articles and blogs on their smartphones.

And although it had taken quite a while for writers and periodical publishers to accept the Internet as a viable publishing medium—even though it’s not a majority as yet—more and more are turning to it every day.

The number of blogs has exploded since 2010. Platforms such as Google’s free Blogger have made it easy for writers to get the word out. Many have turned to Wordpress, thinking it to be more professional. But when it comes right down to it, it’s not the platform that draws readers, it’s the writing. It’s the difference between writing polished work on a high-tech computer or writing it by hand on a paper towel. In the end, it’s the quality of the writing that counts.

The fact is no one–editors, public relations people, and, yes, even writers–recognize the Internet as a legitimate publishing medium. One reason is that essentially non-writers communicate on it. And even if a professional writer publishes pieces on Web sites, there’s no way to tell the difference. Sure, the writing is most likely better quality, but there’s no definite line as there is in print publishing.

Secondly, few Web sites pay little or nothing for contributed work. Most site owners, beyond the corporate sites, are people with a special interest and are not professional editors or writers. And that’s the rub. Sites that do offer writers opportunities for publication don’t have any approval process, so they accept everything. Someone has got to decide which pieces are good or not before posting them.

However, today both amateur and professional writers seem to have found a place somewhere online. The difference in how they present themselves is two-fold.

First, the professional edits and polishes their work before posting it online, whether it’s a blog or an article submitted to an e-zine. Also, blog subjects tend to be slanted to the reader and not personal in nature. Amateurs, on the other hand, either don’t know how to edit their work properly or ignore this process and essentially post their first drafts.

Second, amateur and non-writers seem to be confine their posts to personal blogs, product reviews, and comments after articles. Some set up personal writing Web sites where they post short stories, personal blogs, or poetry.

The day of professional blogging is upon us. Investigative journalism has found its way online and these writers—as professional as any newspaper or magazine writers, some of whom formerly wrote for print markets—are getting paid for their work.

Pay for online work is increasing, also. While e-zine publishers generally work with very low or non-existent budgets, some have come to realize that paying professional writers attracts visitors to their sites. Many major newspapers, such as the Washington Post, have online editions that feature some of the same writers they feature in their print editions.

Next Week: Where Do You Start to Publish Online

The Key to Unlocking the Door to Success

Communication is the key to unlocking the door to success. Believe it or not, you already have it in you. But you’d be surprised how many writers—in fact, how many people—cannot communicate effectively.

Writing is one of many forms of communication. Like listening, it requires a reader to digest the ideas provided by the words. Remember that old saying: "If a tree falls in the forest, does it make a sound if no one is there to hear it?" That could be changed to read: "If a writer writes down his or her ideas, do they exist if no one reads and interprets them?"

There are three parts to the communication process—the sender, who sends the message, the message, itself, and the receiver or the reader. If the receiver cannot understand part of the message, even one word, than there’s mis-communication.

This concept should be the basis for your writing. Using it is the difference between being a writer and a person who writes. Everyone learns to write in school. But most people don’t communicate well. Instead, they rely on the reader to interpret what they have to say.

This happens everyday on Facebook. Most Facebook users assume that they’re writing only to their close friends. Actually, most of them are really sending their posts out to all their Facebook “friends,’ many of whom they don’t personally know. Normally, they shorthand their posts, assuming their personal friends know what they mean. But those Facebook “friends” who don’t know don’t understand what they’re trying to say, thus mis-communication occurs.

As a professional, published writer, you must make sure that everyone who read’s your work understands it.

If you write articles for magazines, for instance, you already have a target audience—a defined group of readers based on the subject matter of the magazine. Most magazines today specialize in a particular subject, so you must slant your article to meet their needs.

However, if you write books, your readership is often undefined. Sure, some may argue that if you write a romance novel that only women of a certain age will read it. But in reality, what’s to prevent any reader from purchasing the book at a bookstore, a book sale, or even on Amazon. Chances are men won’t read it, but you never know.

So knowing who your reader will be is an important part of the communication equation. To be successful and get your work published, you need to write for a specific group of readers who will understand not only what you’re writing about but the words you use to do so.

Too many beginning writers write for themselves without considering who will read their work. Because of this, they fail to get published. Naturally, there are other reasons why they may have trouble getting their work published, but lack of communication is Number One.

Have you written pieces that have yet to be published? Get them out and read them again. Did you write them for a specific group of readers or just yourself? Changing the angle or focusing these piece better may still help you get them published.

Pinning a Value on Your Time

Writers, like other artists, often have a hard time when it comes to pricing their work. With visual artists, it’s a difficult prospect because a project may take hours and hours of grueling work before its completed. If they charged an hourly rate, their work would be overpriced in the market place. Instead, many just take a wild guess and figure that if someone wants one of their pieces bad enough, they’ll pay whatever it takes to get it.

As a writer, on the other hand, if you produced one copy of a book, for example, and charged what it took in time to produce it, no one would buy it. But as a writer, you have an advantage. You have to ability to produce multiple copies of a work or get paid by a publishing company for them to do so. Artists who have adopted this same business model are doing significantly better than those that don’t.

Still, how do you figure out what your time is worth? The first thing you have to remember is that you’re in business. And as such you have overhead—the cost of utilities, including phone and the Internet, office supplies, postage, food, transportation, insurance, equipment, clothing, etc. All that adds up! And before you can make any profit, you have to be able to pay for it all.

There’s no guess work involved when figuring out what your hourly rate should be. It’s simple mathematics. First, you add up all your regular monthly expenses, then you factor in the cost of extras, such as buying replacement equipment. If you can’t wait to get the latest smartphone, then you’ll have to add in that cost to the mix. You can’t leave anything out.

Next, you need to divide your total monthly expenditures by four in order to get the amount you spend per week. By dividing this by seven, you’ll find out what you spend per day—even on days when you’re not actually working.

If you work the standard 40 hours—not necessarily 8 hours per day—then you should divide your weekly total by 40. Let’s say your monthly expenses come to approximately $1,600, then your weekly expenses would be about $400. Dividing that by 40 hours gives you an hourly rate of $10. But that doesn’t allow for any profit, so you must add on an equal amount or higher to make sure you’re getting enough to cover your expenses and make a profit.

However, you won’t necessarily be working steadily as you would in a salaried position. Instead, you may work more one week than in another. Generally, money won’t be flowing in regularly. So it’s a good idea to make your hourly rate slightly higher to cover the times when you may not have any work. In the beginning, you can possibly shoot for a lower rate, increasing it as you gain more experience and more complex assignments.

While you probably won’t ever get your hourly rate, at least you’ll be able to judge if what you’re getting paid is enough for the time you put into your work. You may also want to consider establishing a minimum rate for writing projects. But don’t make that rate too high or you’ll be cutting yourself out of some easy jobs that overall will net a higher profit.

While you won’t have much control when it comes to be paid by editors of magazines and newspapers—essentially, they generally tell you what they’ll pay you—you still need to know if what they’re paying is enough for the time you put in on a project.

Many freelance writers make the mistake of putting in the same amount of work on each article they write and then get paid a different amount for each piece. But unlike products produced by other businesses, no one piece of writing brings in the same amount from different publications. You may get paid $300 from one publication and $50 from another for exactly the same piece. Also, some editors may only pay a pittance but ask for a lot more work. It’s only by knowing your hourly rate that will enable you to decide it what they’re offering is enough for you.

So You’ve Decided to Retire, Now What?

For whatever reason, you’ve decided to retire from the daily grind of stress of freelance writing. Perhaps through no fault of your own. You’ve lost all your paying markets. Maybe, freelance writing has become too demanding. Maybe you just need a change. Whatever your reason, you’ve got to think ahead before making the leap, just like y oui did—or at least should have done—when you firest started freelancing.

Before doing anything else, you should take a look at your inventory, both your published work and the research you did to write it.

If you specialized in a particular subject, you may have enough information, or at least a good bit, to write a book on one aspect of your specialty. You may have been thinking about this for a while but never had the time to pursue it.

Opportunities for publishing go far beyond commercial publishers. While you could pursue the more traditional route, you can also look into self-publishing, either as a print-on-demand book or an ebook. Either of these will work well, if you already have a target audience.

You might also consider writing a blog. This shouldn’t be one in which you pour out your personal opinions, but a more professional one that appears online regularly and explores a particular subject.

Your blog could be based on your previous speciality or you could explore a subject is that is near and dear to your heart. The possibilities are endless.

And if you’re really ambitious you might try publishing a magazine—not one that will drain your financial resources but an online e-zine that mostly requires just time and energy. More and more people are reading about things online, whether through tablets like Kindles or Nooks or on their smartphones. An online magazine is just another extension of a blog.

You can pursue any of the above while still keeping your hand in commercial publishing, just not as much.

One thing you must do in order to enjoy your retirement years is to keep a flexible schedule, one that allows you to write at whatever level you wish but also allows you to pursue recreation and travel.
                           

Do Writers Retire?

If you’ve been working for years as a freelance writer, will you be considering retiring as other working people do? When you work for a salary, your job has an end point. For most people that’s around age 65 or a bit later. But for a writer, is there an end point?

Some writers, especially those who write books, have one or two successes, then nothing. While they may be in the limelight for a little while, it’s not a steady income. But a freelance writer, even a moderately successful one, has the ability to publish in different market for as long as those market exist.

But after you’ve been writing for 20 or 30 years, you may be ready to switch gears. As a freelance writer, you’ve been writing mostly non-fiction. Now that you’re approaching retirement age and a regular Social Security income, even though it may or may not be as much as you earned previously,

Do you know many former writers? Does that category even exist? Do you, as a writer, have an obligation to write or is that something you have for yourself? It’s one thing to stop feeling the obligation to write and another thing to never write anything again. After all, it’s as odd for a writer to be retired from words as it is for a man or woman to be retired from love.

Perhaps it’s not so much retirement from writing as it’s retirement from commercial publishing that you seek. After all, you have been putting up with the vagaries of editors for your entire career. Don’t you wish that you didn’t have to struggle so hard?

The Retirement Book of Genesis might read like this: “ In the beginning, there was no retirement. There were no old people. In the Stone Age, everyone was fully employed until age 20, by which time nearly everyone was dead, usually of unnatural causes.” That’s not true today, as people live longer and are more active for a longer period of their lives. So, too, are writers.

Retirement resulted from the pension system enacted in Germany in the late 19th century, but it didn’t come to America until the 1930s, when the country needed to find a way to make room for younger workers by encouraging older ones to stop. Older people like retirement because they get to stop working and still enjoy some financial protection, whether from the U.S. Government or from their own pension or 401K contributions. Young people like retirement because it gets the old people out of jobs, making room for them. Maybe there are too many writers—or not enough readers to go around. Unfortunately, compulsory retirement won’t help all the young writers out there.

Unlike sports celebrities, writers have fewer fans. They earn less money and their value to the public isn’t necessarily diminished by age—Charles Dickens did much of his best writing in his older years. In many cases, it is enhanced, not simply because there’s a real possibility that their talents will improve with years of practice, but also because readers want to interact with them at 90 as much as they do with writers at 20.

All writers are different, so it’s impossible to tell when each will produce his or her best work. Some never match their earlier work while others reach their peak mid career. Still others don’t begin writing until later in life and reach their peak almost near the end of their lives.

For a freelance writer, retirement actually means the end of struggling. Officially, you’ll gain a steadier income after 65—or now 66. And you won’t necessarily have to struggle to pay bills, so you can take a much needed sigh before continuing on.

Next Week: So You’re Retired, Now What?

It’s All in How You Say It, Not What You Say

Clarity is all important to a writer. You must make sure that what you say is clear to your readers because, even in this age of technology, they can’t always contact you easily and ask a question about what you wrote.

All writers come out of the educational system which emphasized that more complex words showed a higher level of intelligence. After all, as a professional writer, shouldn’t your vocabulary be better than that of your readers? The answer is an emphatic no.

It’s not about how many words you know but how many common words you can use to express yourself.  Complex or $25 words—they used to be $20 but inflation has caught up to them—are words beyond the average reader’s vocabulary for which they can’t get the meaning from the context. So the first rule of clarity is to stay away from #25 words. But there’s another side to clarity.

Readers are constantly bombarded with  deceiving wording in the weekly supermarket brochures where they purchase their groceries. Sometimes, it’s the fine print—they must buy four of something selling for 4 for $10 to get the discounted price. Another ploy is that an item is only for sale at that price on a particular day of the week. But the latest has been the lack of clarity in the ads in the weekly circular. Often shoppers don’t know what to expect until they get to checkout and end up paying a higher price because they didn’t understand the ad in the first place.

Dunkin Donuts recently offered their customers on their rewards program, “Dunkin Perks,” 50 bonus points if they spent $4 using their Dunkin Donuts debit card. What they failed to mention was that customers had to spend $4 before taxes. Now that seems like a simple omission, but many customers probably got caught spending only $3.99, plus tax which brought them over $4. While they thought they would get the extra points, the company denied them their bonus points for one penny. Here, clarity was the key. And unhappy customers equals bad press more so today than previously.

Sure, what you say is important, but how you say it to your readers is just as important, if not more so. Don’t expect your readers to make a leap. What you perceive as clear to you may not be to them. This could be a leap in time, a leap in place, or a leap in understanding. How many times have you said something to someone, who is obviously hurt by your comment, only to quickly add, “I didn’t mean that.” If you didn’t mean what you said, then you should have said it another way. The same applies to writing. But it’s even more critical here because you can’t say, “I didn’t mean that” to a reader you don’t know and can’t see.

How Good of a Salesperson Are You?

No, you aren’t applying for a job in a retail store. But to be a successful freelance writer, you do have to be a good salesperson—as good as anyone who sells in a high pressure environment. You need to develop selling skills on a par with the best traveling salesmen.

Many beginning freelance writers are so consumed with the act of writing that they forget about selling their work after they’ve finished writing it. But writing and selling should go hand-in-hand. You need to do both jobs equally to be a success. So before you even begin to work on a project, have an idea of where you’ll potentially sell it.

The best salespeople begin their sales campaigns by developing a list of prospects. They glean names from whatever source they can, building a list of people to contact. Though over time you’ll amass a list of people you can count on to help with research, you also need to begin a list of potential markets—and not just markets but personal contacts in those markets. You can achieve this by sending out queries for projects or sending material out on speculation that some editors will begin to buy. Once you have your foot in the door, insert a doorstop and keep that door open.

After a top salesperson has a short list of contacts, they’ll sort through it to find the best-sounding prospects so they'll save time and money by avoiding blind alleys. They make their initial contacts, then review what happened, noting all reactions. Then they use these notes for follow-ups. They’re constantly looking to expand their markets. And you should, too.

While you may tackle the first step—creating a partial list—you probably don’t follow up on the remaining ones because, let’s face it, most freelance writers are lousy salespeople. While creative burnout and procrastination often plaque their writing, the same thing happens when they're trying to sell their work. In order to expand your freelance writing business, you have to avoid this. Remind yourself that at times freelancing may be 50 percent writing and 50 percent selling. And while large businesses have sales departments to handle selling their products, you don’t.

Be realistic about your markets. Remember, there’s loads of competition—a recent statistic puts the number of freelance writers in the U.S. at nearly 70,000. To get anywhere, you have to stand out from the crowd. Your material and your presentation of it have to offer editors the best and more of it than others can provide.

The first step is developing your prospect list. You’ll need to study the market and learn the possibilities so well that the market seems to evolve by itself. And don’t start at the top. You’re sure to fail. Begin at the bottom and work your way up. Start with the easiest markets, which most likely will also not be the highest paying. But the easier ones have less strict requirements and demand less work overall than the highest paying ones. Plus, you’ll have a much better opportunity to get published in them. But remember that you’ll only be working with them for a while to build up your credibility as a writer.

If you’ve already begin to publish your work, review your original markets. If you're working well with them, negotiate with the editors for higher pay or perhaps ask if can become a contributing editor. As such, you won’t get any more pay, and you won’t be doing any editing. But you will have your name on the magazine’s masthead, which will impress other editors higher up the pay chain.

When the same bland renewal notice for a magazine subscription arrives in the mail, you usually toss it in the trash. If you intend to renew, you most likely don’t do so on the first notice, but two or three later. The same goes for the reaction by an editor to the same presentation. If you want to renew an editor's interest in your material or build up assignments on a higher level than in the past, think about upgrading your presentation. How well does it sell your ideas? Is your timing and the sequence of your ideas logical? Is the market holding you back or are you holding yourself back through lack of expertise, timidity, or just plain fear?

Today, freelance writers have all sorts of sales tools at their disposal—Email marketing, Web sites, social networking, etc. But just like regular advertising, you also have mass mailing. Have you ever thought about designing a brochure showcasing your work and sending it along with your queries? Can you do the same digitally and send it along with Email queries? Have you given any thought to developing your own Web site. Not a personal one, but a professional business site that’s aimed at editors?

Remember, some of the nation’s top freelancers spend as much as three or four hours a day on the phone and the Internet keeping in touch with publishers and editors. Start making the time to do the same if you want to become a success in this business.

What is a Story?

Writers tell stories. And it’s not just those who write fiction. No matter whether you’re writing an article, a short story, or book, you are, in fact, telling a story. But you’d be surprised just how many writers, both novice and professional, really don’t know what a story is.

The classic rule is that a story should have a beginning, middle, and an end. Everything you write pretty much follows that format. But do these three things make whatever you’re writing a story?

Centuries ago, Aristotle noted in his book Poetics that while a story does have a beginning, a middle and an end, the beginning isn’t simply the first event in a series of three, but rather the emotionally engaging originating event. The middle is the natural and causally related consequence, and the end is the inevitable conclusive event. In other words, stories have an origination, an escalation of conflict, and a resolution.

Your story needs a vulnerable character, a setting that’s interwoven with the narrative, meaningful choices that determine the outcome of the story, and, most importantly, reader empathy. Basically, a story is a transformation—either the transformation of a character or sometimes of a situation. But above all, you must have some sort of conflict.

At its heart, a story is about a person or persons dealing with tension. Without obstacles and without a crisis event that initiates the action, you have no story. The secret to writing a story that draws readers in and keeps them there isn’t to make more things happen to a character but to create more tension as your story unfolds.

The beginning of a story must grab your readers’ attention, orient them to the setting, mood and tone of the story, and introduce them to your main character, whom they will grow to care about. If readers don’t care about your main character, they won’t care about your story.

So how do you introduce your main character to your readers? Begin by having your character perform some sort of action as your first scene opens. Remember, your story is part of a larger whole—a life that has been ongoing way before the story that your telling has even begun. So you must jump into the storyline as it passes you by. You want your readers to grab your main character and hold on tight. Your readers will be propelled through the story until they get to the point where they will let go—the point at which the story ends. But even though the story ends, life goes on.

The crisis that tips your character’s world upside down must be one that your protagonist cannot immediately solve. It’s an unavoidable, irrevocable challenge that sets the movement of the story into motion.

You can introduce this crisis into your story in one of two ways. Either you can begin your story by letting your character have what he or she desires most and then ripping it away, or by denying what he or she desires most, then taunting them with it. So, your character will either lose something vital and spend the rest of the story trying to regain it or see something desirable and spend the rest of the story trying to obtain it.

Two types of characters inhabit every story—a rigid one and a flexible one. The rigid one remains stubbornly unchanged while the flexible one will change as the story progresses. Your main character should always be the flexible one. The crisis in the story will forever your main character who will take whatever steps to try and solve the struggle.

Unfortunately, your protagonist will fail because he or she will always be a different person at the end of the story. If this doesn’t happen, your readers won’t be satisfied. By the time of your story’s climax, your main character will have made a discovery that changes his or her life forever.

Your character will make this discovery by being clever enough to piece together clues or will show extraordinary perseverance or tenacity to overcome the crisis.

Beyond Words

Words are the building blocks of writing. They’re what pulls readers in and keeps them there. But having a great vocabulary isn’t all there is to writing. In fact, it’s only half the story. Besides being able to choose the right words, a writer must also know how to assemble them to communicate a clear message. And part of that is mastering the language in which the writer is writing—in this case English.

The use of sentence structure, punctuation, and capitalization is called English usage. Grammar is part of it. As a writer, you cannot ignore grammar. Too many beginning writers today think that it’s the editor’s job to correct their sentence structure and grammatical mistakes. And while an editor may correct the occasional grammatical error, his or her main job is to make sure sentences read correctly and that the content is clear. This is the job of the copy editor.

If you don’t make sure that your final draft is free of grammatical mistakes, then you’re not much of a writer. And while good editors will make sure to point out all of your grammatical errors, it will take away from the job they were meant to do. Plus it will cost you since the more time an editor spends on your work, the more an independent editor has to charge.

If you send your work to a publisher, he or she will assign an editor to work with you. But before an editor even begins to edit a book manuscript, for example, a reader will be assigned to read it. If there are lots of English usage and grammatical mistakes, your manuscript will be rejected.

If you have a problem with sentence structure, punctuation, and the like, you’ll need to do something about it before you go on. A professional writer is a not only a wordsmith but has honed writing skills. They’re the tools of this profession.

Perhaps you felt that grammar and such were unimportant as you sat in English class bored to tears as the teach went on about participles and gerunds, for example. After all, you want to write—to create interesting stories. Why do you need to concern yourself with such mundane things. What you didn’t realize at the time was that those mundane things would become your everyday tools to help you create those interesting stories.

So where can you get help? You could sign up for a basic writing class at a local adult evening school. Or you could buy yourself a book on English usage. You can easily find a used one at a local library book sale or get it online at Amazon.com. You can also improve your English usage and grammar online.

Begin with the article “14 Must-Visit Websites to Learn English Grammar Online.” Then check each one of them out and see which offers the best resources for you. Another great site is English Grammar 101. There are whole lot more to choose from, so take your pick.  Use the exercises provided to improve your writing skills. And before you know it, you’ll be writing like a pro because isn’t that what you want to be—a professional writer.