Re-inventing Yourself as a Writer in Today’s Hi-Tech World

Technology has advanced by leaps and bounds in the last 20 years or so. So much so that it could have left you in the dust. What made for success in the 1980s and 1990s just won’t cut it today. So how do you re-invent yourself? The answer lies in creating a new business model—one tailored for today’s publishing industry and today’s readers.

To be successful today, you have to be passionate about what you do. While this sound s obvious, it’s even more important in a world run by technology. Readers no longer have just the printed page to turn to for information. Now they have billions of sites on the Internet that opens up an entire world of information.

Secondly, you have to write with a purpose—to fill an informational need, not just to get paid. With all the blogs online and ebooks to read, it’s a sea of information, so standing out on that great ocean can be a challenge. Creating personal, publishing, and community goals that inspire you will help you achieve them.

Today, you have to go beyond normal prose which originally involved only writing on your part and reading on your reader’s part. Today, you have to set up a system of sharing your content. While that may take the traditional form of print media, you should investigate all the opportunities to share your work with online communities.

Use your passion for writing to serve others. Crowdsourcing has now become a reality as creative entrepreneurs fund their projects by asking for it from the people who matter most—their readers. You need to build strong relationships with engaged, committee communities who want to help you because they know, like, and trust you.

After you’ve developed these online relationships, you must make yourself and your work continuously visible to them. Subject integration is the key. Once you write about a subject, explore all the possibilities for sharing that information. Tie articles to blogs and Web sites and vice versa.

Previously, you may not have considered test-marketing your work. But in today’s information filled world, that’s almost a necessity. While you wouldn’t have to test market an article or short story you’re submitting to a traditional publisher, you should do so with any project you’re planning for digital media.

Promote yourself. Before all this technology, all you had to so is produce writing that editors liked and were willing to publish. Today, you have to promote yourself directly to your readers. And the technology to do that is out there.

Above all, you have to remain professional. Maintain a positive perspective about publishing. Run a business that creates a steady stream of scalable content in as many forms, media, and countries as you can.

Build a brand—a business that readers can look to for creative and innovative content. Try to find the essence of what you do and build on it. Maximize your ability to innovate and be creative. Think outside the box.

Make the effects of your efforts sustainable. Begin with people and end with profit.

Finally, create a plan, have patience, discipline, and faith in yourself for the long term. And when you’ve achieved success, no matter how small, celebrate.

Today’s Rollercoaster of Freelancing

Remember the days when rollercoasters were the most fun ride in an amusement park. The cars crept slowly up the incline, seemed to hesitate for a moment, then gravity took hold and they plunged to the depths, riders screaming all the way.

Today, the cars still plunge, the riders still scream, but at ever-increasing, sometimes dizzying, speeds. Believe it or not, the same thing is happening to freelance writing.

Technology has taken rollercoasters to literally new heights with more curves and many more screams. It has done the same to freelance writing. Since the 1990s, computers have changed the way freelancers do business. They’ve allowed writers to work anywhere and find information on practically any subject in seconds. But those same computers have also given editors an extra edge that previously only freelancers could provide them. You’d think all this technology would provide loads of publishing opportunities for writers, but unfortunately, the opposite is true.

Sure, there are loads of additional opportunities for writers, like blogs and ebooks, but most of these pay little or nothing. And as a freelance writer, you can’t live on that.

Technology has also cut into traditional freelance markets. And while communication happens in an instant today, there are more writers out there than ever before—all trying to make a go of it as freelancers. That number also includes all those editors and staff writers who lost their jobs because of publications closing.  So even if you think you’ve sent an idea to an editor quickly, someone else will have sent the same idea faster and gotten there first.

Freelancers used to use the U.S. Mail to not only send queries with ideas, but also finished manuscripts. Today, if you don’t use some sort of electronic form of communication, you’re out of luck. However, there are still some editors who haven’t adapted to 21st-century communication and insist writers send everything by snail mail.

In today’s freelance writing environment, writers experience higher highs and lower lows. When they fall, they fall hard. So much today depends on the idiosyncracies of technology.

For instance, one writer developed a long-standing regular gig writing content for Web sites.  The same person, his biggest client, owned a group of sites. He began pulling some sneaky tricks, trying to get more hits on Google. Google discovered this and pulled all of the client’s sites from its listing which effectively knocked out his sites, putting the freelancer out of work.

Because many people get their news from the Internet and T.V., the newspaper market, which provided many freelancers with bread-and-butter work, is virtually dead.  And while there may seem to be more magazines available today, many specialize in one subject. And a specialty market will only support a limited number of publications.

Focus on Your Reader

Throughout your schooling you were taught one thing—that the writer is the most important part of the process.  But when you decided to start writing, expressing your ideas and thoughts, you discovered that not so many people wanted to read your work. In fact, it may have felt as if no one was interested. To make sure people are interested, you must focus on them, your readers.

Sure, the ideas you work with mostly originate with you. Many beginning writers keep journals in which to record their ideas and their musings. But no one reads your journal but you. When you write for your readers, you have to look at your writing in a whole new way.

When you record your innermost thoughts and experiences in a journal, you do it in a highly personal and uncensored manner. But often these writings are haphazard and unorganized. They make sense to you but to your readers they appear chaotic and disorganized. That’s because they were never meant to be shared with your readers.

Keeping a journal can be a healing process after a traumatic experience. It can guide you through the early stages of becoming a writer. It lets you see your mistakes and bad habits and the patterns that develop so you can correct them later on. But keeping a journal won’t improve your writing because you don’t pay attention to style and technique, two things your readers look for and want to see in whatever they read.

Learning to write for publication is somewhat difficult for the average beginner. You wrote all those compositions in school for one reason—to practice the writing skills you were taught. If you could go back and read them, you’d discover that they are probably boring and don’t speak to you at all.

So to write material worthy of publication, you must make a definite shift in how you interact with the reader. What the reader wants and needs is of the upmost importance. Your creativity will have to move from self-orientation to interaction. Whatever your motivation, you need to move from daydreaming to a purposeful way to express your thoughts and feelings so that your readers will empathize with you. When you tell a story, you must engage your readers—you must make them feel a part of it.

There are a lot of people who go through a traumatic experience. They’re either overjoyed or deeply hurt by it. For those who come through feeling a sense of euphoria, sharing that with readers may be an uplifting experience. But those who are deeply hurt only want to lash out and blame everyone. Sharing that with readers turns them off because there’s nothing in it for them. Writing a memoir can be cathartic, whether or not writing makes you feel better is secondary.

There are many reasons to write. Ask yourself why you want to write. Is your goal to entertain or inspire foster understanding or inform? To make your article or story hit home with your readers, it must first be meaningful to you. It must satisfy your own curiosity.

Not only are you a writer, but you’re also a reader. You have the opportunity to see any piece of writing from your readers’ perspective. First and foremost, you must make whatever you're saying clear. You need to transform your ideas and facts into something that better serves others. By taking your specific circumstances and tapping into universal themes, you can create a story that's more relatable to your readers. And in doing so, your story transcends yourself and becomes meaningful to others.

So before you write anything, ask yourself who will be the main audience. How old are your readers? What gender are they? What demographic group do they belong to? How educated are they?

Paying close attention to the answers to the above questions will not only make your writing better, it will also make it read. And isn’t that the goal of writing for publication in the first place?

What Makes a Self-publisher Run?

As traditional book publishing routes become more complex and harder to crack, more and more writers are turning to self-publishing—and not just those who can’t seem to get their work accepted by established publishing houses. But before you take the plunge into the world of self-publishing, you’ve got to strongly believe in your own work. Of course, patience, perseverance, organizational and writing skills will also contribute to your success. If you’re not a good writer, you won’t have any more chance of success in self-publishing than in sending your work to traditional publishers.

Not so long ago, "self-publishing" meant "vanity publishing." There were companies out there who prayed on novice writers, gladly taking thousands of their dollars to print their books with no guarantee of success.

A great example was the person who had been misaligned in some way. The following scenario was all too typical: A widow, whose husband had died at the hand of surgeons, is out to tell the world about the incompetencies of the medical profession. She decides to write a book and spends as much as $8,000 to have it “published.” In this case, published means printed. She’s a terrible writer and seeks revenge for her husband’s death more than anything else. In the end, she ends up with 5,000 copies of a book no one wants to read.

On the other hand, there’s the story of a young food writer who desires to write a book on Moroccan cooking. She does so, has it printed in Morocco—it was cheaper there—then ends up with 3.000 copies stacked in her bedroom. Instead of sitting on those books, she began to peddle them to gourmet food stores in high-end retailers like Nieman Marcus and Bloomingdale’s. Her book is a success and five additional books later, she’s a success. But only because she was not only a good writer but a savvy businesswoman.

Vanity publishers ran ads in magazines for writers—the ones only beginning writers read. The chances of your book, so printed, reaching much of an audience at all are slim. In most cases it will end up collecting dust in your attic—if you still have one after putting up the cash to have it published.

Today, the advent of ebooks and POD (Publishing on Demand) books makes it possible for you to self-publish your work without shelling out thousands of dollars. And the market is constantly growing. These days more books than ever are being self-published—fiction, nonfiction. poetry, art, design, crafts, guides, etc. While some are amateurish in their production, others look professional—as good as any commercially published book. They, like any book brought out by a large publishing concern with a list of hundreds, can bomb, or they can break the bank. As a self-publisher, you’re the publisher, as well as the designer, salesman, distributor, and publicity agent of your book. Fortunately, you’ll also collect all the proceeds from its sales.

How do you start out if you're going to make a profit? First, plunging into self-publishing without ever having published anything is as bad as writing a book and sending the manuscript around to endless publishers. Many beginning writers have the mistaken belief that they should start out by writing a book—the hardest type of project they could tackle. They have no idea what they’re doing and thus, end up with a poor product. But self-publishing after you’ve had quite a bit of work published, especially books, makes sense.

A mystery writer, who already has four published books under her belt, decided to convert some short stories of hers into shorter books and publish them on Kindle. While she’s not making tons of money, her book sales have been steady. And that’s because she already had a following. Her readers wanted more and she gave it to them. Now she’s experimenting with a POD book—a republishing in paperback form of one of her ebooks—for readers who don’t use Kindle. In the end, she’ll be successful because she’s plotted out her book market as well as she plotted out her mysteries.

What you need to start in self-publishing is a sound, well-researched idea for a book that appeals to a wide audience. After you write it, you need to get it professionally edited. You’ll also want critics, experts, etc., to endorse your book so your promotions will have credibility. And you get those by previously following the traditional published route.

Self-publishing is an affirmation of your belief in your own best efforts, because no publisher will care quite as much about your work as you do.

Beyond Book Royalties

The potential sales of a book are your real leverage when it comes to negotiating a contract. Think beyond royalties.  Never ignore the income that may be generated by resale of all or part of your book. Even when the advance and royalty schedule agreed on are better than you'd dared hope, keep your negotiation aggressive—suggest to the editor that he make up for your concessions by giving you a better deal on subsidiary rights.

Subsidiary rights specified in the contract determine, among other things, your share of any money resulting from a resale of the book to a paperback reprint house, book club, or as an ebook. A standard contract usually provides for a 50/50 split between you and a hardcover publisher. But the amendments you're looking for may change the contract to provide you with an increased percentage if the resale exceeds a certain dollar figure—for example, 55 percent for a sale over $50,000 or 60 percent for a sale over $100,000. You may not expect such a bonanza, but neither may your publisher. So nail down your chance at the lion's share from the start.

Every writer dreams of a big sale to the movies or for TV dramatization. While such possibilities are remote or the odds so great for either nonfiction or fiction, neither you nor your publisher may be motivated to bargain for the division of the spoils should there be a miraculous stroke of such luck. But no matter how conservative your expectations, it would be foolish to ignore such possibilities from your  contract negotiations.

It used to be that publishers would give you 90-100 percent of all movie rights without much fuss.
But that was before film producers began asking for the rights to non-fiction books—In Cold Blood is a good example—and short stories such as “Legends of the Fall” and even articles. Today, everything depends on the particular book, short story, or article. If you think a filmmaker might be interested in your work, then you ought to make sure you get your share of the film rights.

Since options for possible film use are considerably more common than outright sales, a good contract will spell out not only the percent of the proceeds that you’ll receive from selling the film rights but also whether you or your publisher will have the right to negotiate the contracts with potential buyers.

You should also follow the same process when negotiating foreign reprint rights. Make an educated guess about the potential market for your work in the countries not covered by the basic contract. Ask for anything up to 100 percent of all foreign sales, and be sure the contract specifies who will have authority to negotiate with foreign publishers.

Other subsidiary rights include permission to use all or part of your text in magazines, newspapers, and  on the Internet. First serial rights refers to publication in such outlets before the book appears while  second serial rights refer to reprint after book publication. You should receive 100 percent of first serial rights.

Most book contracts grant you only 50 percent of the sale price for second serial rights. But when your track record or expertise help gain such a sale, the contract should be amended to provide an escalating percentage for you as sales multiply.

Generally, publishers handle the disposition of subsidiary sales through departments set up to manage them. They especially consider resale for paperback reprint their prerogative, and some may even resent your interference in their transactions. You may or may not be informed of the attempts by your publisher to find secondary markets.

It's important not to duplicate your publisher's efforts to get part of your book into a top selling magazine or to sell the whole thing to a reprint house, even if you believe your publisher isn’t looking out for your best interests.

However, when it's clear that the publisher isn’t pursuing secondary rights as aggressively as you would like, then you might consider pursuing them yourself. If your book has drawn heavily on the expertise you've acquired in the course of writing shorter pieces, chances are you have a network of markets and potential markets for this kind of material. So when your book is in print, you're in a good position to contact other markets that may already know you. Among these may be a publisher who may be familiar with your work but never considered it.

Let's assume your book has received some good reviews—especially on book review or social networking sites. Collect and copy all the good notices as they appear and package them to promote your efforts at resale to magazines or newspapers.

Create a small brochure of quotes from the reviews of your book and mail it along with query letters to a broad range of regional publications. It may bring a number of requests from editors to see a copy of your book, and a good number of reprint sales may follow. However, before randomly sending out copies of your book to editors, see which ones are interested, then mark the section of the book you think particularly suited to the needs of each publication and send them off.

Eight Ways to Expand Your Business

If you’ve been freelancing for a while, perhaps it’s time to think about expanding your business. Other small business owners have the luxury of being able to hire help, open branch locations, even franchise their business. Unfortunately, most of those don’t work with freelance writing.

Working for yourself, by yourself, means that you can only do as much work as you have time. And there are only so many hours in a day. That puts a limit on expanding your business. Sure, you can take on larger projects, but when you work on a large project, such as writing a book, you don’t have time to do the smaller ones. And frankly, most book projects don’t pay nearly as much in the long run as working on a bunch of shorter and less complicated pieces. So how can you expand?

1. Revise your sales presentation. When the same bland renewal notice for a magazine subscription arrives in the mail, you don't give it a second look. If you want to renew an editor's interest in your material or build up assignments on a higher level than in the past, you must revise your presentation. Analyze the way you pitch ideas now and see if you can improve on it. How well does your current method sell your ideas? Is your timing and the sequence of ideas logical? Is the market holding you back or are you holding yourself back through fear, lack of expertise, or timidity?

2. Create a brochure. Don’t forget you are a business. And businesses advertise. Some kinds of writing may allow you to run ads in journals or newspapers. But the majority of what you do most likely doesn’t lend itself to direct advertising. So why not create a brochure of your work. Hotels do it. Airlines do it. All sorts of businesses do it. This doesn’t have to be an expensive, glossy affair. It can be nothing more than one page folded in thirds. You won’t have too much room, but there’s enough to include teaser quotes from your writing and perhaps a few photos. Short excerpts of articles will do the trick.

3. Keep up with marketing chores. And don’t forget, that many top freelancers spend several hours a day doing marketing chores, staying in contact with publishers, editors, agents, and other clients either by phone or Email.
    
4. Use books as premiums. If you’ve written books, consider using copies of them as premiums—gift books to corporate executives which they then gave their employees or rewards for contests that you run on your Web site and Facebook. Naturally, you’ll want to sign each copy.

5. Create or improve your Web site. And speaking of Web sites and social media, if you don’t have a good Web site yet, create one. Today, more and more people look to the Web to find professionals, including writers. But don’t just focus on selling, give visitors to your site something in return—information on writing, itself, or the subjects you write about. Both will draw them to your site.

6. Publish pieces on Kindle. The longer you’ve been freelancing, the more material and information you’ve acquired. Use some of it to create articles or short stories and perhaps short ebooks that you can sell on Kindle. While this may not bring in lots of cash, it helps you use materials that lie fallow in your files.

7. Promote a book through articles. If you have a book about to be published, you might want to try to write several short articles on a related subject and get them posted at key Web sites online. They’ll give you greater visibility and subtle promotion for both yourself and your book.

8. Apply for grants or enter contests. Lastly, consider applying for grants or entering contests from time to time. Nothing boosts a career like an award. But don’t concentrate on either of these. It’s actually easier and less time-consuming to just write and publish your work than it is to seek out a chancy result like either of these.

Editing Your Way to Success

If you’re a highly energetic writer, freelance editing can provide a lucrative sideline, provided you have some experience. Many former full-time editors take on outside editing jobs once they go freelance. But just saying you’re an editor isn’t enough. This isn’t something you can dabble in. Publishers depend on editors to do some very crucial work.

So how do you get such editing jobs on a freelance basis if you don't have publishing-house experience? In most cases, you have to find them, not the other way around. And you’ll need to have done some editing, no matter how small the job and whether you paid or not, before you venture into this market.

Before you seek any editing job, you’ll need to become acquainted with the different kinds of editing publishing requires. Basically, there are three types—copyediting, content editing, and acquisitions editing. Basically, the copy editor is the one who checks every detail in the manuscript for grammatical and factual errors, seeing that the text conforms to whatever style the publishing house considers best and that it’s consistent throughout in the use of type and so forth.

The content editor clarifies ambiguous passages, suggests rearrangements of material so the manuscript reads better, and deals with other conceptual matters. But the content editor may also pencil edit for grammar and such. A content editor focuses on the whole piece of writing, whether it be an article, short story, or book.

The acquisitions editor works as an idea person for a book publisher. He or she scans literally hundreds of newspapers, magazines, competitors' catalogs, and the like for ideas for books and for possible new authors to add to the publisher's list. Large publishing houses separate content editing and acquisitions editing. Smaller firms have editors who handle both.

Although it’s more usual to get freelance jobs either copyediting or content editing, there are occasions when an acquisitions editor will take on a part-time assistant. Having a sense of mission may be the most important sales tool you have to convince a publisher of your worth. Persistence is the next most important. Editors may not be looking for anyone when you approach them. They may not have any editing jobs that need to be done, but as time goes on, they will, and you want them to call you when that happens.

The main point to remember besides persistence is to take any assignment offered you to get your foot in the door. If you do a great job on it, the editor will look to you for other editing assignments. If you want to try your hand at such jobs, show lots of enthusiasm, and let the client know what kind of editing and/or researching you do best. Keep after them until they hire you. Then give it your all.

In today’s world of self-publishing, lots of writers need their work edited, but they may not know it. Start by obtaining some of the shorter ebooks online and read them critically. If you notice lots of mistakes and unclear passages, contact the writer and see if you might be able to edit their work for a small sum, or, if you’re desperate, for free. The more of these small jobs you do, the better you’ll become. And you just might get some fairly well-paying ebooks editing jobs from professional writers who normally would have depended on their publishers to provide the edits.

Revamping or Retrenchment

As your freelance career progresses, you may find that some of your ideas and avenues for publication just aren’t working out. Do you throw in the towel? No. Instead, you should revamp what you’ve been working on and try again. However, the damage may be severe—markets for your ideas begin to disappear, you’re running out of ideas, or you’re just not as interested in the subject as you were when you started. In this case, you may need to fall back and retrench. And much like soldiers in World War I who did just that to come up with a new strategy, so should you.

Revamping your operation or project isn’t as drastic. You may have to go back and do more research in both your subject and the market for it. Perhaps you’ll need to find some new contacts and get in touch with ones you haven’t heard from in a while. If you've corresponded with an editor previously and received encouraging words but no assignments, send him or her a short E-mail, saying something like “I contacted you a few months ago, and you said you’d be glad to look at other ideas I had. Do you have any stories you're contemplating? If so, can I help?" Reminding editors that you're still available to take on assignments isn’t such a bad one.

Revamping may also mean asking for more pay. No writer gets additional compensation without first showing that he or she deserves it. Keep a special file containing notes on all the best pieces you’ve written for a particular editor. While some editors will increase your pay automatically if you’re doing an outstanding job, others will need a little more prodding. If you an exceptional job on an article, be prepared to ask for more pay the next time around. But always leave yourself a graceful way out if the editor turns down your request. Don't burn bridges unless you absolutely have to.

If you’ve been specializing in a particular subject area and not getting too far with it, perhaps it’s time to take a second look at it. While revamping may also mean developing another specialty, remember that you’ve already put in a lot of time into the one you’re pursuing, and you’ll have to go back to square one if you begin again. Study your target market. Note changes in it and your specialty.

How has what’s happening in the world affected your specialty? After 9/11, the market for travel articles went into chaos. People weren’t traveling and advertisers stopped buying ads, so publications that specialized in travel had to pull back. Some went out of business. Likewise, have the effects of global events filtered down to your locality yet? You may be able to cash in on your specialty in local or regional markets—at least until the national markets recover. The recent economic recession had the same affect on a number of subject areas.

If you're pushing your skills into a new area, it's bound to make others a little suspicious now and then, even if you know you're competent to handle the new situation. Remind yourself this new arena is one in which you're going to have to sell harder than before. Be prepared. Do your research and come up strong.

If you manage to get an assignment in your specialty area every now and then, that should tell you that you should be able to get more. If you’re at a point where some editors trust you to deliver, you're halfway there. Assuming it may take several queries to land one assignment, prepare yourself for the strikeouts and keep after the home runs. Your self-confidence will grow with practice. Success, no matter how slight, whets the appetite as nothing else can.

Occasionally think outside the box. Even specialized publications run general pieces once in a while. Their readers are always looking to save money, travel, manage their lives, etc.

If you're changing specialties, you may have to go back a step or two until you've proven yourself. Move ahead quickly once you've established your new specialty. Be alert for chances to point out to editors that you're now as qualified as anyone else. Perhaps review books in your new field. You’ll not only increase your visibility, but you’ll also add free books to your personal specialty library, saving money in the process.

New technology in electronic books now enables you to further increase your visibility by self-publishing short books or articles in your specialty to sell on Amazon for Kindle. It’s a fact that Kindle has the lion’s share of the ebook market, so ignore Nook and other venues and concentrate on it. This helps provide you with a track record in your new area of expertise.

Sometimes it doesn't make much sense to continue in the direction you’re headed. If you've tried to make a go at a specialty but discovered you've hardly made headway, you might want to  reconsider. Retrenchment may be what's in order, before you get in over your head financially or otherwise. But retrenchment means giving up what you were doing in favor of starting something else. You’ll definitely lose money on this because income won’t be coming in for a while. Unless you have another source of income, only use retrenchment as a last resort. Don’t give up too soon.

Expanding Your Horizons

So you’ve managed to garner a bit of work in a few select markets. And the work you’ve received from them has been more or less steady. But you somehow feel that you could do more. Now may be the time to consider expanding your horizons.

Some freelance writers are generalists—writing about anything and everything that comes their way. Others write about a select groups of subjects, and still other specialize in one subject area. What one are you?

Have you exhausted the possibilities of your current markets? Might competitors of your present markets be interested in your work? You need to give this some careful thought. When pursuing new markets in the same subject area, you need to be cautious. Many editors of specialty magazines want you to write almost exclusively for them. If they get even the slightest indication that you’re writing for even one of their competitors, they’ll drop you like a hot potato. However, if that same editor has been holding off publishing your pieces and perhaps favoring other writers over you, then you should give his or her competitors a try.

What outlets have you ignored because you were too busy, disorganized, or too timid to try? If you have sufficient publishing credits behind you, it might be time to become more adventurous in your marketing? There may be markets that you tried long ago, and they rejected you? Remember, editors play musical chairs all the time. The editor that rejected your work has probably moved elsewhere by now. Even if he or she hasn't, try again.  Editors’ needs and preferences change. They're under constant pressure from their publishers to upgrade their operations.  Plus, your research and writing skills have most likely improved by now. And you may have a better idea of what they’re looking for. Your idea might be the very thing they've been searching for.

Have you been writing articles when you should have been putting together book proposals? Are you ready to write one? Beginning writers look at books as some sort of holy grail of writing. It’s probably because the authors get so much attention. And then there’s that author moniker. Isn’t it better to be an author than just a writer? Aren’t all authors writers anyway? Get off the impression bandwagon and decide if your skills are up to writing a book.  If so, think through some book ideas and pick the best, but not the most difficult, one.

Are you querying as many new markets with enough ideas to meet your financial goal by the end of the year? Don't worry about getting more acceptances than you think you can handle— remember the attrition rate on assignments. Remember, with rosier finances you can employ help or purchase better equipment.

Have you been promoting yourself as much as possible? Could you make yourself better known among editors and readers? All freelancers get caught up in the writing trap from time to time. As you receive more acceptances and assignments, your work load increases. And there’s only so much writing time in a day. What usually suffers is promotion since you aren’t literally bringing in cash with it in the present. Sometimes you just have to pay the bills and current cash wins out.

Should you write that novel that's been fermenting in your mind for so long? While this may be a great idea, it won’t bring in enough money to sustain you. A better compromise might be to write a series of short stories that you could self-publish as an ebook. Or perhaps work on a short non-fiction book that you can self-publish electronically or pitch to print publishers. Both will bring in some money while you work on your regular assignments.

By honestly answering the above questions, you’ll be able to plot a course for the months and years ahead while steering clear of unproductive paths as you broaden your horizons.

Looking Into That Crystal Ball

While it would be nice to have a crystal ball to look into to tell what’s going to happen in your freelance writing career, as far as technology is concerned, it’s just not possible. But there are ways you can predict or at least forecast what may happen. And with a little luck, it will.

If you’re determined enough, you can make anything happen. Your mind is a strange and fascinating thing. Let it work for you. So the first step when looking into the future is to think positively. Imagine yourself a success, and you’ll most likely succeed.

To help plan for the future, know where you hope to be in five years. What kind of writing—articles, stories, books, or a combination of these—do you anticipate producing? How much money do you want to be making? Knowing the answers to these questions will help you obtain the skills necessary for you to succeed.

To make sure you get where you want to go, you’ve got to create a five-year plan. This shouldn’t be set in concrete, but be flexible enough to change as time goes on. But at least you’ll know where you want to end up at the end of that time.

Begin by figuring out where you want to be at the end of your career. Do you see an end, or do you plan to write for the rest of your life? In the beginning, you may not know where you fit in the freelancing world, but after a year or two, you should have a pretty good idea. A freelance career is a living thing. It changes and evolves as it goes, so you’ll need to do the same.

Imagine where you’ll be two years from now. Do you see yourself working full time as a freelancer or do you plan on working part-time for the foreseeable future?

What kind of assignments do you want to receive on a regular basis? And what do you need to know to get them—knowledge, experience, kind of people for contacts, etc.? What have you done so far that will help you get started along this path? Make a list or a spreadsheet of every writing project or job, noting how you did it, with whom you were in contact, and how much you were paid. Seeing that information all together on paper will show you just how well you’re progressing or not. And if not, you’ll be able to see where you’re falling short.

What barriers do you see between where you are now and where you want to be in five years? Don’t be shy or sugar-coat the your situation. Note everything in detail. Is the lack of sufficient funds holding you back? Do you see a way around this? Do your family and friends support you, either financially or emotionally? Do you feel like a writer?

Analyze the current publishing situation. Things haven’t been so great lately. Will that affect your long-term plan. How can you adapt your plan to fit into upcoming industry changes? Do you see yourself publishing ebooks or are you set on print publishing?

How well do you present yourself and your talents? Are you shy about promoting yourself? Do you think that writers shouldn’t do that? Too many beginning writers pick up that kind of attitude from their schooling. To be a successful writer, you have to live in a studio apartment and starve for your craft. That’s nonsense. In today’s world, writers are working professionals just like lots of other people. And don’t let anyone tell you otherwise.

Do you overreact to criticism? Beginning writers are notoriously thin-skinned. You may think everyone is out to steal your work. If it’s worth stealing, then perhaps you’d have something to worry about. But as a beginner, it mostly likely isn't. Instead, concentrate on making your writing the best it can be.

Are you trying to handle everything yourself instead of looking for the right kind of help? If you’re having problems with a particular skill, get some help, either through a tutor or a class. Find out all you can about the kind of writing you intend to do. Read lots of examples of it. Become very familiar with its style or organization. Don’t think just because you read articles, stories, or books that you know how to write them.

What warnings have been coming back to you that you've ignored? Have you had the same pieces rejected again and again? Have any editors hinted at why they’ve rejected your work? Try to get some feedback, even from your friends. After all, some of them may be avid readers.

Creating a five-year plan will force you to keep track of the people and places where you'll find help in accomplishing your goals. You won't veer off into sidelines that aren't financially rewarding enough. A five-year plan also maintains vigilance over your best, most lucrative and satisfying ideas. Be both realistic and ambitious—five years can be a very short or a very long time. But if you don't look that far ahead, you'll discover you've lost much more than just five years of your time.

Give 'Em What They Want

As a freelancer, it’s important to give editors what they want, not what you think they want or what you personally feel strongly about. This applies not only to periodicals—magazines and newspapers—but also to books.

Editors will tell you what they want, if you ask them. Their needs aren’t a closely guarded secret. But for the most part they’re too busy trying to fill those needs to broadcast them. They do, however, try to get the word out to writers by publishing writer’s guidelines for their particular publication. You’ll usually find these on the publication’s or book publisher’s Web site. These guidelines, and they’re just that, guidelines, cover all the basics about a publication—the number of readers, preferred subject matter, length of articles or books, method of submission, amount of payment and when you can expect to receive it, and, most importantly, the number of articles or books published in a year.

But these are only guidelines. Editors don’t often know exactly what they want until they see it. They’re kept busy trying to please their bosses, trying to make next month's issue better than the last, and trying to figure out what their readers will want to read six months ahead. At the same time, they’re keeping a watchful eye on the market—for magazines, paying attention to newstand sales and subscriptions, and for books, checking on print and ebook sales.

Magazine editors also have to worry about the amount of editorial space they have to fill each month. What if a writer doesn’t meet a deadline? What if the story submitted is badly written? What if the story doesn’t end up the way the editor thought it would? That’s a lot of “what ifs.”

And while book editors may not have to worry about one article, they have to think about whole books not working out. What if the writer fails to develop the book the way he or she intended? What if the writer drastically overwrites and the manuscript needs extensive editing? What if the market for the book fell apart during the time the writer worked on it? Again, that’s a lot of “what ifs.”

Sometimes it takes an on-the-ball freelancer to come up with a snappy new idea that grabs the editor’s attention. As a professional writer, you’ll need to have your fingers in lots of pies. You need to keep up with the latest trends. You need to prospect for nuggets of information, which you can assemble with other nuggets into a cohesive whole. In short, you need to be a gold mine of ideas.

Besides studying numerous writers’ guidelines, you’ll also need to analyze a magazine's or book publisher’s needs, so you can keep up with the changes, such as spot an editorial rearrangement or a shift of emphasis in editorial matter. Study at least a year’s worth of issues of a magazine or, for books, study the publisher’s latest book catalog to see what’s on the docket for the coming year.

Remember, editors think ahead—sometimes way ahead. Just like retail clothing buyers, editors think six or more months ahead. They’re planning their June or July issues in January. In July, they’re planning their December, holiday issues. If you’re submitting a proposal for a Christmas story in November or December to a magazine with a three- to six-month lead time, you're wasting your time. Length of lead time is the first question you’ll want to ask an editor. The second is when can you expect to be paid. Often you’ll find the answers to these two important questions in the writer’s guidelines. But just to be sure, it pays to ask. Magazines often plan their issues six months to a year ahead while book publishers often plan their projects two years ahead, depending on how long it takes them to get a book in print.

The only surefire way to find out what an editor wants is to try to give it to him or her. Don't query once, then stop after one rejection. If you do your homework and query repeatedly with different ideas, you’ll eventually hit your target.

Generally, editors want—or at least wish they had—what their competitors already have. They  want top-name writers, even if they can’t afford them. They want what their readership surveys to  tell them their readers want, even if they often don’t. They want writers to do their part and write stories that their readers will love, even if this doesn’t always happen. To hit the mark, you have to keep trying, again and again and again.

Can You Change a Contract?

Your chance of making a profit from a book or article hedges on the contract you sign for it. Contracts can be as short as a page or as long as 30 pages. Some publishers call them agreements, but they’re contracts, nonetheless. It pays to read them carefully because whatever is included in them is binding for both parties.

Publishers have revised their contracts since the Internet came into prominent use to garner every business advantage. In today’s market, that means electronic sales, among other things. Publishing to their Web sites or publishing your work as an ebook are options they never had before. And with the success of Amazon’s Kindle and Sony’s ebook reader, those options have stepped right out front. This applies both to books and article, but not as much to short stories.

Signing a contract put you into a legal binding agreement . However, it also binds the publisher into the same agreement. Once, a magazine I wrote for sent me contracts for every article. In it was a line about electronic rights. I changed the wording to say I wouldn’t sell them or sometimes, I said I’d sell them for 10-15 percent of the article fee. His editor agreed. The publisher ignored the changes and published them on his Web site anyway. After two years and many articles later, I called him on it, and his lawyer said he basically didn’t have a leg to stand on because he had ignored the original contract changes. The publisher ended up paying me over $400 in back fees.

Another time, a client, who had hired me to write an extensive four-page advertorial for a big-city paper, ignored the phrase in it which said he had only one full edit of the manuscript. This was to prevent him from changing his mind lots of times before publication–a habit of business executives. In the end, he had to pay me 100 percent more because each additional edit cost him $1.00 per word. Again, his lawyer said he didn’t have a leg to stand on.

You can change any of the wording in a contract before you sign it–as long as the publisher agrees. A publisher usually begins with a standard legal contract, then adds whatever details he or she needs for the individual project. A standard contract gives all the monetary and legal advantages to the party who draws it up. In the above examples, these were the magazine publisher and myself. You, as the writer, have the right to change anything in the contract, should you not find it in your best interest.

If this is your first contract with a particular publisher, you don’t have the bargaining power to change much. But as you continue working on projects for that same publisher, your bargaining power increases.

And it isn’t just about your advance, should you be writing a book. Other items that you can change include deadline dates, reversion of rights back to you after publication (used mostly for articles), electronic rights (Web site and ebooks), royalty percentages, subsidiary rights (T.V., film, worldwide rights), and more.

So the next time you receive a contract from a publisher, read it very carefully. In fact, make a copy and underline or highlight sections on the copy that you find questionable. Don’t hesitate to ask for changes. Remember, it’s in your best interest. The publisher already has theirs covered.

Can You Change a Contract?

Your chance of making a profit from a book or article hedges on the contract you sign for it. Contracts can be as short as a page or as long as 30 pages. Some publishers call them agreements, but they’re contracts, nonetheless. It pays to read them carefully because whatever is included in them is binding for both parties.

Publishers have revised their contracts since the Internet came into prominent use to garner every business advantage. In today’s market, that means electronic sales, among other things. Publishing to their Web sites or publishing your work as an ebook are options they never had before. And with the success of Amazon’s Kindle and Sony’s ebook reader, those options have stepped right out front. This applies both to books and article, but not as much to short stories.

Signing a contract put you into a legal binding agreement . However, it also binds the publisher into the same agreement. Once, a magazine I wrote for sent me contracts for every article. In it was a line about electronic rights. I changed the wording to say I wouldn’t sell them or sometimes, I said I’d sell them for 10-15 percent of the article fee. His editor agreed. The publisher ignored the changes and published them on his Web site anyway. After two years and many articles later, I called him on it, and his lawyer said he basically didn’t have a leg to stand on because he had ignored the original contract changes. The publisher ended up paying me over $400 in back fees.

Another time, a client, who had hired me to write an extensive four-page advertorial for a big-city paper, ignored the phrase in it which said he had only one full edit of the manuscript. This was to prevent him from changing his mind lots of times before publication–a habit of business executives. In the end, he had to pay me 100 percent more because each additional edit cost him $1.00 per word. Again, his lawyer said he didn’t have a leg to stand on.

You can change any of the wording in a contract before you sign it–as long as the publisher agrees. A publisher usually begins with a standard legal contract, then adds whatever details he or she needs for the individual project. A standard contract gives all the monetary and legal advantages to the party who draws it up. In the above examples, these were the magazine publisher and myself. You, as the writer, have the right to change anything in the contract, should you not find it in your best interest.

If this is your first contract with a particular publisher, you don’t have the bargaining power to change much. But as you continue working on projects for that same publisher, your bargaining power increases.

And it isn’t just about your advance, should you be writing a book. Other items that you can change include deadline dates, reversion of rights back to you after publication (used mostly for articles), electronic rights (Web site and ebooks), royalty percentages, subsidiary rights (T.V., film, worldwide rights), and more.

So the next time you receive a contract from a publisher, read it very carefully. In fact, make a copy and underline or highlight sections on the copy that you find questionable. Don’t hesitate to ask for changes. Remember, it’s in your best interest. The publisher already has theirs covered.