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.

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.

Profit From Anniversaries

Every day is an anniversary of some event or moment in history. Every day is a chance to take your readers back in time.  Every day offers an opportunity for a way to increase your profits as a non-fiction writer.

Newsworthy milestones of all kinds can mean big profits if you’re a savvy writer. Many people love to read about what happened way back when. But the key is to uncover a unique angle on an anniversary, especially for those that are more well known.

While every day is an anniversary, it’s the important milestones that count----10, 25, 30, 35, 40, 50, 60, 75, 100, 125, 150, 175, 200 years—so begin by making a list of these numbers. Subtract these numbers from the current year—in this case 2016. For example, subtracting 100 years from 2016 gives you 1916.

Next find a copy of The World Almanac and go to the historical timeline section. Look up 1916 and see what events happened that year. This gives you a list of centennial anniversaries to write about. Look for the more unusual events—ones that other writers might dismiss as too trivial. Then use your imagination to put your own spin on the ones you select. Repeat this process for all the milestone anniversaries. You’ll end up with a more anniversaries than you’ll have time to write about. Select the ones you think will work out best for you, and you’ve essentially planned articles for an entire year.

When pitching article ideas to editors, remember that most magazines work at least four to six months ahead, larger national publications often work a year or more ahead. So you may want to project into the following year. For example, look at the listings for both 1916 and 1917.

You should only have to do this procedure once a year. Try to do it at the end of the previous year to plan the anniversaries you’ll want to write about for the following 12 months.

A Google search for "historical anniversaries" will reveal lists of event anniversaries. And a search of “anniversaries + [specific year]” can also reveal many potential article angles. The bigger and rounder the number of the anniversary, the more potential the hook. Target these findings first in your queries, because well-known anniversaries are where the competition will be the most challenging.

You’ll also find it easier to narrow down all the possible anniversaries if you follow your personal interests. Use them as a filter to narrow your selection.

One writer had a strong interest in the Old West. When the 150th anniversary for the departure of the first wagon train to traverse the Oregon Trail came up, he did lots of research and in the end sold 16 articles to as many different magazines on various facets of this event. He targeted each article to a different audience using the same basic information but with specific details for each readership.

As in with other aspects of freelance marketing, it’s important to be broad minded. You never know which magazine editor is planning to cover what, or what special issues he or she may have in mind that would be perfect for a particular anniversary piece. Even rejections can open the door to future assignments. Whenever possible, target both local and national publications—and be sure to target each pitch a specific market.

Avoid ideas that first come to mind. Instead, find an innovative way to spin the topic that will make your query stand out from the others. One of the ideas the writer pitching the Oregon Trail anniversary used was to bring to life that first wagon train, based on personal accounts left by the pioneers on rock faces along the way and in diaries they kept. Since actual people signed their comments, it made his article personal and true to life.

Remember, that even what seems like a great idea to you may fall on an editor’s deaf ears. Be prepared to circulate and recirculate your anniversary article queries for multiple successes.

Writing Your Way Out of a Slump

The writing business can have its ups and downs. If you’ve been successful at any time in your writing career, you know the rush you get when things are going your way. But what about the times when there’s little or no work or when you just feel empty? How do you get yourself going again or at least maintain some sort of status quo?

Too many writers only look forward to the next article or story. And if you’ve been writing books, the next book. But sometimes you put so much energy into moving forward that your mind just stops and says, “Wait a minute. I need a break.” This especially happens after working on a long book project where the writing adrenaline has been pumping hard for weeks or months.

To get yourself back on track after taking a break or when your motivational power is at its lowest ebb, try looking back. Whether you know it or not, you’ve amassed an incredible amount of information as well as product inventory. What about all those articles or short stories you’ve got in your files that have been published once. And don’t forget the ones you sent out numerous times only to be rejected each time.  Recycling that information or those pieces in your files may just be the answer.

The simplest form of recycling is to sell reprints. This is easy money. All you have to do is find new markets for pieces you have laying around. It used to be that these had to be secondary markets, but in today’s hodge-podge publishing world, you can sell anything to anyone as long as the piece has been idle for some time. In fact, you may want to freshen up a piece before sending it out or in the case of an article, slant it to a different readership. Doing so makes the piece a whole new product.

Another way of recycling is to rewrite a piece completely. This could even be done to a short story that you gave up on a while back. Since you haven’t really looked at it in a while, you may see why it didn’t sell in the first place. You may even consider writing other stories along the same lines to produce a series based on the same theme.

Redoing an article is somewhat different. Articles can be updated, even ones written 30 years ago, as long as the topic is still relevant. Or perhaps the topic is even more relevant today than when you first wrote it. Take the subject of solar energy. Solar technology is finally at a point that average homeowners are asking about it and seeking special grants and financing to get it installed. When you first wrote about it, it may have been just coming to the public’s attention and was super expensive, which limited the publishing potential for your article.

If you write non-fiction, look to trade publications. While they don’t pay as much as consumer publications, they usually need more articles. You can turn articles you’ve written into marketable pieces once again.

As with Mastercard, master the possibilities. Take parts of articles and combine them into new ones. Or expand sidebars you once wrote into shorter full articles. Editors love shorter pieces, so they have a better chance of getting published.

And while you’re searching through your inventory, you may run across an idea for another book which eventually will put you back in the running. Whatever you do to get yourself out of a writing slump, keep it short. Don’t get involved in lengthy projects. Work with what you have. You’ll be amazed at what develops.

Do E-queries Work?

Not long ago, freelance writers had visions of no stamps, no self-addressed stamped envelopes, and no prepaid reply postcards. They also wished that someday they wouldn’t have to use 25 percent rag-content ivory stock for your query, contained on a single page surrounded by one-inch margins. Their dreams came true with the advent of electronic mail, commonly known as Email.

Email had the potential of liberating freelance writers from these hallowed but time-consuming and expensive procedures. Though the majority of queries still arrived  by regular mail, the electronic query would soon become standard.

But just as Email has done nothing to elevate the art of direct-to-consumer advertising, neither has it made queries any better. If anything, bad E-queries are even more annoying to editors than bad paper queries. If you do anything with Email, you know how aggravating spam can be in your own inbox, so you know how editors feel about inappropriate queries.

First rule of E-queries is not to send them unless you know the editor wants them. Believe it or not, an editor of an online e-zine refused to accept E-queries. Now how ridiculous is that? Don’t assume that all editors are fine with E-queries. If they’re under 30, they probably are, but those over 30 have the same problem as everyone else in that age category—they learned about computers after they were set in their ways. So check marketing directories to find out which editors are okay with E-queries before you send them.

Even if an editor accepts E-queries, it won’t be through his or her personal Email address. Search out their business Email or, better yet, find out if the publication has a special address just for E-queries. Do a search on Google for the publication’s name and go to their site for explicit instructions.

So what should an E-query contain? If you’ve sent paper queries by regular mail, you already know. What most people, especially writers, don’t realize is that the “electronic” in Email refers to the delivery system, not the format or content. In fact, you could send a copy of a one-page query you did previously, and an editor would receive it in exactly the same way. In either case, the editor looks at the content to see if he or she has recently run an article on this topic and then replies to let you know if you should send it.

The abbreviated message most often seen in Emails got its start with college students who saw Email as a way to defy the rules of letter writing and composition. So over time, everyone adopted this form and consequently some messages became almost unintelligible. Remember, an E-query is an electronic form of a business letter and must be professionally written and formatted.

Start by placing the proposed title of your article in the subject line. Then place your name, address, and phone number—both home and cell—in the upper right corner. Be sure to only use initial capitals, as anything else will be viewed as spam. The body of your Email query should be exactly the same as the body of your paper one, including the date, salutation and signature. It’s okay to just type your name in the signature line, but if you can create a signature using a script font in your word processing program, you can use it. Create this once and save it for future use

Keep the length of your E-query the same as your paper query. In fact, you may find it easier to write your query in your word processor, then copy and paste it into your Email. Remember, your main points still need to include why this topic will interest the publication’s readers, why you're the best person to write about it, how you'll develop the article, and when you'll be able to deliver it and with what kind of artwork or photography.

As with paper queries, use a block paragraph format and close by asking the editor if he or she is interested.

Response times tend to be faster with E-queries than with paper ones, because it's easier to respond. Some publications will acknowledge receipt of your E-query within a day. If you haven't heard back within a month, you should feel free to make a politely-worded inquiry as to whether the editor received your query and include a copy in case it wasn't.

The main difference between a paper query and an E-query is how you handle clips. While you would include copies of recent clips with your paper query, you’ll have to send them as attachments with your E-query. Scan each clip, saving it as a JPEG image file. Be sure the image is large enough for the editor to read. Then attach it to your E-query. Don’t send more than three clips as attachments. Be selective and send your best ones that are on the same topic as your proposed article or a related one.

Lastly, just as with paper queries, keep a record of the E-queries you have out, including the date sent and to whom, so that you can follow up on ones that for which you haven’t received replies.

Tips for Effective Research

Research is an important part of most writing. The majority of writers don’t just pull ideas and facts out of their heads. While their writing may appear smooth, logical, even flawless, behind it lies good research.

What and how much you research you do depends a lot of on the finished format of your writing. A short article or blog, for instance, requires far less research than say an investigative piece or a book. Even short stories may require some research to help you become familiar with the subject.

Today, you have at your disposal a multitude of sources of information. Researching for your writing isn’t like anything you did in school. Too many beginning writers remember back to researching term papers and fail to get the right kind and amount of information they need to complete their current work.

The best research begins with good general sources. To fully understand your subject you’ll need background information. Details come later. A quick search for an article on Wikipedia, for example, should give you an overview of your subject. But be careful, some of those articles often have misinformation. You may also find the background material you need in brochures and press releases. This is especially true when writing about businesses, travel, or products. Before compiling a list of questions for an interview, it helps to know something about the subject and the person you’ll be interviewing.

Take profile writing. To write a good profile, you need to learn all you can about the person so that you’ll be able to ask intelligent questions that get to the nitty gritty about their life or business. The more you learn ahead of time, the better results you’ll obtain from your interview.

Sometimes you have to look beyond the obvious. If writing about a product that’s no longer made, you may want to look into learning about the company that produced it. The development of the product or the progression of ownership of the company will often provide interesting details to add color to your story.

All of the above pertain to writing non-fiction. If you’re planning a novel, especially an historical one, you’ll need to learn about the lifestyle of the times so that you can truly convey the atmosphere of life back then. This includes not only major events in history, but the clothing that people wore, the cultural habits and mores of the time, and even the vocabulary and speech patterns to provide authentic dialog.

Finding appropriate background information for a novel can be more complicated and widespread than for non-fiction. It may require you to make research trips to locations you plan to include in your book. While there, you may want to visit museums to find information to fill out the details like costuming and local history. Some novelists begin writing in a broad way and then fill in the details later after completing their research. Others research first and then begin writing.

Whatever type of writing you do, you’ll want to make sure not to do too much research. Overdoing it can be just as bad as finding too little information. Know when to stop. A good rule for an article is to compile twice as many pages of notes, single spaced, as the number of pages of your finished article. Doing too much more than that will result in your using far more material and, in the end, having to cut half of it out to get back to the length your intended publication requires.

If you’re writing non-fiction, you’ll use most of the research you’ve done. But if you’re writing fiction, you may use less than half since the majority of what you write will have to deal with characters and dialog. 

Make More Money Freelancing

In today’s topsy-turvy world of freelance writing, making a lot of money is nothing more than a pipe dream for most. Making any money is more realistic. It has become harder and harder to do so with the flood of new media. So how can you make enough to pay the bills—and not count on your spouse’s paycheck. Ladies I’m speaking to you.

The first thing you have to learn to do is to do your best for whatever you’re getting paid. This can be a challenge as many publications have cut their pay rates in the last several years. To make sure you come up with good content, you need to be as organized as possible, so you don’t spend countless hours on a job that pays a low rate.

There’s an old saying: “You get what you pay for.” While that may be true, a lot of editors want more than they’re willing to pay for. You can make your articles seem better if you include lots of details and keep them short. Generally, a shorter piece take less time to write. So stay focused on your topic. Get excited about it and let that excitement spill out to both your editors and readers.

The second thing you must learn to do is negotiate. Most writers shy away from this because they assume that if they push too hard, their editors will reject them. That may be true when you first start working with an editor. Rule Number One: Don’t negotiate on the first job with an editor. Do the best you can on it and win that editor over. You might consider doing two or three jobs for that editor before asking for more money. Sometimes, an editor’s hands are tied and he or she cannot give you more. But usually they have some leeway in what they pay freelancers. Some writers get paid the minimum while others get the maximum.

Start out by asking what the editor can pay for the assignment. It’s at this point that you must decide if you can economically do the job. Is it worth your time? Will it be easy enough to make lower pay feasible? If the answer is no, tell the editor you’re sorry, but you can’t do your best on the job for that price. Believe it or not, there are other fish in the sea.

Once you feel confident enough to negotiate, think like you’re at a public market in a foreign country where bargaining is the norm. Before you begin, consider what you are presently being paid and then figure how much more you can accept. Ask for 50 percent more to start. Don’t get greedy. The editor may counter with 25 percent more. It’s just like bargaining for a souvenir. If you don’t get your price, be prepared to walk away. If the editor likes your work enough, he or she will counter with an acceptable offer. You’ll be surprised how often this works.

In order to be able to negotiate successfully, you have to have shown the editor that you can get your articles in on deadline. If you discover that you’re going to be late, call the editor and let him or her know. They really appreciate that. In fact, they’re smart enough to have given you a deadline that is actually a week or two ahead of when they actually need the article. So there’s a little wiggle room. But don’t count on this. Some editors work right to the wire.

Lastly, as a business person, it’s important for you to follow up. Remember, editors are busy people. Besides dealing with other writers, they’re dealing with various departments. After you’ve sent in the assignment, wait a couple of days and then send a short Email asking if the editor received it. If you mailed it, give them a call in a couple of days. Both the U.S. Postal Service and Email can be unreliable.

The editor will tell you when he or she plans to run your article. Once that date passes, send another message asking for a copy or two of the issue in which your article appears. And if you haven’t received payment by the negotiated time, contact the editor about it. And don’t forget to let the editor know how much you enjoyed working with them—if you did. Don’t lie. There are some editors who are hell on wheels to work with. In their case, move on to another publication. Don’t torture yourself, no matter how much you’re paid.

NOTE: For additional ideas on negotiation, read my blog from Feb. 1, 2013---"10 Ways of Improving Your Chances in Negotiation."

This Could be the Year

Do you know your Chinese horological sign? Why not look it up right now. This year is the Year of the Sheep. The Chinese are very superstitious people. Most won’t do anything important until they consult their daily horoscope. Your Chinese horological sign—Monkey, Pig, Tiger, Snake, Rooster, Rat, Rabbit, Horse, Dog, Ox, Dragon, or Sheep —comes around every 12 years from the year your were born. For some people, those years turn out to be the best in their lives. Is this your year? If so, it could also be the year you get published. There shouldn’t be anything holding you back, but for many beginning writers, the fear of getting published overwhelms them.

You’ve probably been writing for several years if not longer. During that time, you looked ahead to the day your dream of getting published will become a reality. So why haven’t you been published yet? You’ve slaved over what you consider your best work, but each time you send a piece out to a publication, it comes back with a vague rejection letter or Email, if the publication even returns it to you.

As the New Year moves forward, it’s time for you to take the bull by the horns, as the old saying goes, and make a concerted effort to get something—anything—published. Make that your primary goal for 2015. And if you’ve already been published, try to get more pieces published in better markets.

Fear can be a mind-numbing thing. It takes hold of every part of your body. It prevents you from thinking of new ideas. It stifles your creativity. It hinders you from acting logically when sending out your work to publications. Do you get shivers down your spine each time you hit the “Post” button on Facebook? Just imagine what it will be like when you finally publish a print book or ebook.

Writing for the public is like speaking in public. Either way, you bare your soul, then sit back and wait for all to judge you. So how can you take control of this gigantic fear and get something published?

Write with a single person or reader in mind. This could be a friend, a member of your family, or someone you know only slightly. Write to them and for them. Speak to them with your words. Talk directly to them.  Forget about the rest of society. If what you write is good, the rest will jump on board soon enough.

As far as publication goes, begin with a small audience. Small publications are far less restrictive and their readerships are far less demanding than those of the big markets. They’ll support you as you improve your writing skills. Too many aim for the best magazines or look up to bestselling authors. In writing, you have to start at the bottom and work your way up. Forget those dreams of sudden fame—they’re fleeting at best.

Get over the idea of perfection. Most beginning writers freeze up when they think that everything they write needs to be perfect. Perfection is a subjective thing. It’s all in the eye or mind of the reader. Let’s face it, not everyone will think your work is great. And that’s okay.

Every writer has something to say—even you. And what you say may just help someone. Always think of that when you’re writing. You learn by making mistakes and sharing those mistakes with your readers.

And just for one moment, forget what other people may think of your work. It’s what you think of it that matters most. Remember, there are other writers out there fighting off their fear as well. By attempting to overcome your fear of publication, you’ll become a better writer.

The Elephant in the Room

Copyright is probably the most misunderstood concept in writing. With information being so readily available on the Internet, everyone is on the defensive. If someone uses even one word of a text, the author is ready to jump on them. The same goes for ideas. Many people believe that if someone uses an idea the same as or similar to there’s without permission that they have stolen it. But actual copyright is very different from these common misconceptions.

Most beginning writers think that if they put their work out in public view that someone will steal it. If it only were good enough, someone might do just that. But most of the time it isn’t worth stealing. So how did they develop this notion.

It all started back when they were in school. Teachers ingrained in them that all their work had to be original. Let’s face it, the last time something totally original was created was at the point of the creation of the universe. Everything since then is influenced by all that came before it. Traditionally, academics have a fear that someone is after whatever they’ve uncovered or created. But that’s not how the real world works.

According to the Encyclopedia Britannica, copyrighting a work reserves the rights by the author to reproduce, distribute, and perform a literary, musical, dramatic, or artistic work. That covers a lot of territory.

It all began with the Statute of Anne, passed in England in 1710, that recognized that authors should be the primary beneficiaries of copyright law and established the idea that such copyrights should have only limited duration, after which works would pass into the public domain. The U.S. Congress enacted a similar law in the United States in 1790. Over the years, subsequent legislation changed the duration of a copyright and the necessity of registration.

Essentially, a copyright is placed on a work from a particular date onward for a period of time during which the copyright holder has exclusive rights to reproduce, modify, and distribute the work in whatever way he or she sees fit. In the U.S., that period is 70 years plus the age of the author at the time of publication. For anonymous works, that period is 95 years from first publication or 120 years from creation date.

A work that was created in tangible form for the first time on or after January 1, 1978, is automatically protected from the moment of its creation and is ordinarily given a term enduring for the author’s life plus an additional 70 years after the author’s death.

Copyright law protects short stories, novels, nonfiction articles, poetry, computer software, software manuals, text advertisements, manuals, catalogs, brochures, and  databases. Other categories include plays, films, musical and sound recordings and multimedia works. Copyright law doesn’t protect your ideas, facts, words, and names, although it may protect the way you express them.

You own the copyright to your work, unless you assign those rights to a third party. Copyright protection arises automatically the moment you create it. The work must be "original," and not based upon someone else's work. The fact that your short story may be similar to other stories doesn’t mean it isn’t "original” for copyright purposes, so long as you don’t copy the complete story from another source.

For works published before March 1, 1989, you needed to place a copyright notice— “Copyright © 2014 by Your Name. All Rights Reserved”—on your work in order to receive copyright law protection. That’s no longer the case. For works published after March 1, 1989, you don’t need to place a copyright notice on your work in order to be protected by copyright law.

Such a notice warns people who view your work that you take copyright issues seriously and may have a deterrent effect upon possible infringers, especially those who are unfamiliar with the intricacies of copyright law. Furthermore, if your work carries a proper notice, in the event of a subsequent infringement lawsuit the defendant will be unable to claim "innocent infringement"—that he or she didn’t realize that the work was protected.

Do you have to register your copyright? Not necessarily, but if you need to take legal action, a registered copyright will hold up in court. You may register the work after someone has infringed upon the work, but the registration will only apply to infringements that occur after the registration. However, if you register your work within 90 days of publication, the statutory damages provisions apply to infringements before and after the actual registration. Registered works may be eligible for statutory damages up to $100,000 and attorney's fees in successful litigation.

Registration costs $35 per work. To register, you simply fill out the copyright application and mail it to the U.S. Copyright office with a check and a nonreturnable copy of your work—one copy if your work is unpublished and two copies if it has been published. Works that have been published must be registered within three months of publication. This is called "mandatory deposit."

Copyright registration is considered effective the day the Copyright Office receives all the materials required for registration. You may copyright the work in a pen name or pseudonym by simply checking the "Pseudonymous" box on the application.

Works published or created after January 1, 1978 aren’t subject to renewal registration. For works published or registered prior to January 1, 1978, renewal registration is optional after 28 years but does provide certain legal advantages.

The length of copyright protection depends on when the work was created, who created the work, and when the work was first distributed commercially. For works created on and after January 1, 1978, the copyright term for works created by an individual is the life of the author plus 50 years.

The term of the copyright for "works for hire" is 75 years from the date of first "publication" or 100 years from the date of creation, whichever expires first.

Remember, it’s up to you to enforce the copyright to your works.

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?

Editors Can be Monsters

There’s no doubt about it. Writing is hard. Actually, it often isn’t the writing that’s hard but the crap writers have to take from editors that can set them back. Do you feel as if your writing career is in everyone’s hands but yours? Have you had less than stellar experiences with some of your editors?

For the most part, editors are nice people. They want you to succeed, but occasionally you find one or two that are so horrible that it may make you want to quit writing altogether. Let’s take a look at a few instances.

Take the frustrated writer/editor. This is an editor that tried to make it as a freelance writer but didn’t make it. She ends up having to get a full-time job to support a family and resents having to sit behind a desk and edit other people’s work. In the process of editing, this editor goes overboard and edits the work so badly—in fact, rewriting it—that the piece isn’t recognizable. And not only that, forgets to save drafts along the way, so that the piece loses its continuity. She then goes back to the writer asking all sorts of questions, making the writer fix her editing mistakes.

Or take the alcoholic editor. A travel editor of a large East-coast city newspaper, calls a writer to ask a question. The writer is working at a travel agency to make ends meet. The editor goes ballistic and says he’s throwing the writers work in the trash can and doesn’t give the writer a chance to explain. What the writer finds out later is that this editor has a drinking problem, making him irrational at times.

Or take the new editor. A writer works for a large-city business publication as a regular stringer for seven years. He’s got a great rapport with the managing editor—the editor even helps him out with leads for assigned articles. Then the managing editor takes a job at the city’s largest newspaper. A new editor comes to the business publication. After a while of putting off the writer with one excuse after another, he finally tells the writer he can’t write. And this is after working for this same publication for seven years.

Or how about the condescending editor. You’ve probably run into editors like this. They think they’re the greatest and that writers are nothing more than slaves to do their bidding. They don’t see writers as being on the same professional level as themselves. In fact, they most likely have a journalism degree and feel they’re several steps up the ladder from the writer. And while they continue to send work the writer’s way, there’s never a strong bond between themselves and the writer.

As you can see from the above examples, dealing with situations like this can be unpleasant and may even have a long-term affect on your work. Some writers quit writing altogether while others quit temporarily or become blocked.

Always remember this: Editors are just another step in the chain of publication. They’re no better than you. In fact, you may write better then they do. And some resent that. And to be fair, there are a lot of great editors out there. So if you run into a less than professional situation with an editor, move on, and keep writing.

Getting Paid What’s Due

It’s hard enough working as a freelancer, but add to that the frustration of not getting paid on time or not at all and it can become a nightmare. For most writers, bill collecting is a time-consuming and distracting endeavor. But in today’s economy it has become a fact of life. Just as the people you owe come after you if you haven’t paid your bills, so should you go after those who owe you.

Often you’ll see the signs early on. An editor fights with you for a few more dollars payment. Or perhaps he or she doesn’t let you know up front that the publication will be paying up to two months after publication. If you notice clues like this, it’s better to back away from this market because you’ll surely have problems down the line. But many writers hesitate to do that or to hassle their editors about payment for fear of losing the work.

Timely billing is the first step toward timely payment. Send an invoice with every piece you produce. Make sure that you put your Social Security number on it. Sure, everyone is telling you not to put your Social Security number on anything, but this is a bill and today, businesses use that number to identify you.

Also, make sure you state your terms of payment, unless otherwise arranged. It’s a good idea to ask an editor when the publication normally pays writers before you begin working for it. State on your invoice exactly how you want the check made out—John Doe or John Doe Communications, etc.

If you’ve incurred any expenses that you’ve previously discussed with the editor, include them on the invoice. Some editors ask that you bill them separately for expenses. Enclose copies of receipts if your editor requires them. If you’re sending your invoice by Email, scan your receipts and send image files of them. If sending by regular mail, send paper copies. If you invoice correctly and keep good records, you’ll find you can prevent problems from arising. Remember to keep copies of all your invoices. Mark those paid when you’re paid and keep an eye on those not paid as yet.

If you haven’t received payment when you expected it from an editor, send a pleasant Email reminder. Jog the editor's memory if a few weeks have gone by without payment. Editors get busy and many are  overworked and understaffed. Your invoice may have gotten misplaced. If you receive no answer within 10 days after this reminder, however, the editor may be ignoring you.

A firmer letter, sent by regular mail, should remind the editor that you met your obligations and you request that he meet his or hers. If you receive no response from this, then call the editor on the phone to find out what’s going on.

If none of these tactics work, then you can resort to charging interest on unpaid accounts over 30, 60, or 90 days, just as you’re charged if you're delinquent in paying your bills. While you may not receive the additional amounts, you'll get a businesslike message across.

If all else fails, you can always take the publication to small claims court. Depending on how much you’re owed, this can be more of a hassle for you than just admitting defeat and claiming the unpaid amount on your income tax. If an editor contacts you and tells you that the publication is having problems, back off a bit, but not too much. After all, you deserve to be paid for what you have done.

Generally, slow-paying markets don’t pay expenses. If you’re having problems collecting payment for the writing you’ve done for them, chances are they’re too strapped or cheap to pay for expenses.

Prioritize

When you decide to quit your day job and write full time, you’ll have to give careful consideration to your priorities. No longer will someone else be deciding what work you have to do and when you have off. Now it will be your responsibility. For some writers, this works great. For others, it doesn’t.

The first thing you’ll need to do is figure out when your peak thinking and writing times occur. Are you a “first-thing-in-the-morning” person, a midday person, or an evening person? Also, do your peak thinking times and peak writing times occur at the same time or at different times during the day? If yours are separate, you’ll want to focus more on the former, giving it top priority in your daily schedule. It’s harder to think out a piece of writing than it is to actually write it.

To help you set your priorities, you must first create a daily work schedule. You don’t have to stick tightly to it, but it should act as a guide. To begin, block out a schedule for the week, indicating when you’ll begin work. You may want to use the same schedule you used in your former job. Working from nine to five is good for a start. Next block out time for lunch, 30-60 minutes should do.

Now that you have your start and end times, plus lunch scheduled, you can lay in blocks of time for your work. If you know when you’re at your peak for thinking, block in time at the appropriate hour. Then lay in some time for writing and research. It helps to mix up your day by working on several projects in different stages. While you’re getting ideas for one, you may be working on the first draft of another, and starting research for a third. Doing this actually helps exercise your brain and prevents getting burned out by writing for hours on end. It pays in the long run to not write for more than two hours at a time.

And don’t forget to allow time to get more work. You’ll need to send out E-mail messages to editors, or perhaps call them on the phone. And when will you study new publications to see if you’re right for them? Many editors schedule staff meetings on Monday and often Fridays are wrap-up times before publication, so you’ll want to limit your editorial contacts to the middle of the week.

What many people who work for themselves forget is allowing time for other obligations. Do you have to take or pick your kids up from school? When do you do grocery shopping? Must you cook meals for your family? What about talking to friends on the phone?

It’s a real temptation to procrastinate when you work at home. You may say to yourself, “I’ll do that later,” but do you? If you have a tendency to procrastinate, you need to attack the problem head-on. Doing so will increase your production and your income immediately.

You should try to schedule time to write every day. Some days you may have more time while on others less, but writing every day will help you keep up the momentum. Be sure to divide your time adequately among important projects. If you know you have deadline coming up, be flexible enough to allow time to finish the project that’s due. This means you must be careful that deadlines don’t pile up on one another. And for some writers, having no deadline takes away the impetus to get things done.

To help you prioritize your work, create three lists—one for Top Priority items, one for Secondary, and one for Do at Leisure Tasks for each week? This will help you stay on track. You might plan on taking care of the items on the first two lists during “working” hours and leave smaller tasks, like filing, correspondence, and organizing notes for evenings or Saturdays.

And while it’s important to get your current work finished, it’s just a important to plan ahead for new work. Do you have days or evenings when you are systematically building your files, increasing your contacts, beginning speculative new ventures, adding to your catalog of possible topics, and promoting yourself?  How about the time it takes to read and answer your E-mail and check on your social media sites?

If you keep your priorities in order as you start out in your writing career, you’ll be in a better position to recognize and take advantage of golden opportunities as they arise. The more you priorities your work, the easier it will be to tackle really complex projects and do them without stress. And as your career progresses, you should have more and more work to do. There are only so many hours in a day, and you can’t squeeze more work out of them than you already are unless you set your priorities.

Plan diversions into your work schedule. Don’t be a workaholic. But do so with care. It's too easy to take time to have that extra cup of coffee.

Step by Step

For beginning writers, the hardest step towards publication is the first. Once they achieve that first step, the others come easier. However, too many beginning writers mistakenly believe that they should begin at the top. After all, they look to bestselling authors for inspiration. One makes it into a top magazine on the first try while another lands their first book on the New York Times Bestseller List. The odds of a beginning writer making either of those are worse than winning the Mega Millions jackpot.

The first step is the all-important one. Making sure that one is solid takes perseverance and patience, plus lots of hard work. The best advice is to start small—write a short article or a short story, not a book. Writing a book is like having a baby elephant. It takes 22 months to grow in the mother’s womb and a lot of care after it’s born. On the other hand, writing a short piece is like a chicken laying an egg and sitting on it until it hatches.

Once you’ve had a piece published, you need to keep moving farther out on a limb—but without falling off.  If you write non-fiction, you might publish several short articles in your local newspaper. If you prefer fiction, you might publish a short story in a small literary magazine–for a little pay, of course.

The next step should be to contact a regional magazine, suggesting an article on a subject you know well or a short story. A good way to get feedback before jumping into unknown waters is to write an article or short story and let several friends or colleagues read it. Feedback from "readers" at this stage is more important than acceptance from an editor. If "readers" like the piece, then an editor will most likely enjoy reading it, too. But its more than just liking it. Discussing your article or story with your "readers" to obtain detailed feedback is even more important.

But before you send a piece anywhere, it’s equally important to study the periodicals to find out what they publish—a least a year’s worth of issues. Read the content as well as the ads to find out what sort of content to send the editor’s way.  And reading the letters to the editor will give you a clue to what readers are thinking.

Nothing builds confidence like money in the bank and words in print. Until these accumulate in sufficient amounts, writers rely on substitutes—hope and encouragement. Some beginning writers treasure the letters of rejection that come back with manuscripts they submitted on speculation. They pore over them with a fine-toothed comb searching for clues as to how the manuscript might be revised to become a winner. However, too often they read too much into the editor's words. It's better—and more professional—to immediately send the rejected manuscript to another market, or to revise it and begin again.

But if an editor says he or she has too many stories and might be interested later, you should put a note on your calendar to do just that. If an editor says the idea isn’t a good fit with the publication but would consider others, it’s a good idea to immediately send more ideas.

Many struggling writers feel that their work is better than comparable material they see in print. Just because a piece has been published doesn’t mean it’s good. It’s all subjective. Writers learn to depend on the likes and dislikes, and whims, of editors. Having your article or story rejected may have nothing to do with the subject or your writer’s skills.

Therefore, don’t take a rejection personally but look at the situation objectively. Is getting a piece in a particular publication all that important or will trying for another equally good publication suffice? As in the fable of the tortoise and the hare, slow and steady wins the race.

Stringing Along

One way I got by early in my freelancing career was to become a stringer. The term stringing goes back to early newspaper days when a reporter's copy was "strung together," so the newspaper paid him—there weren’t very many female reporters back then—by the inch. Today, that term means working for a newspaper or magazine “from the field,” turning in ideas and stories to the editor either when I find them or when the editor sends me an assignment.

Each publication sets up its stringer network differently. Some stringers receive small retainers plus a fee for an article when the publication prints it. More often than not, publications forego the retainer in favor of a loose agreement as to the acceptance of pieces or guaranteeing a certain number of them will see publication throughout the year. Or the publication will just keep feeding me regular assignments with no guarantee—the most common practice. Either way, the editor knows the quality of my work and how to get hold of me fast.  In turn, I know what kind of stories they want and how to present them, including sending photos if needed. From experience, I know I can count on a certain amount of work each month which helps me plan my budget. What’s even better, I can string for several publications at the same time as long as they’re not competing for the same readers.

When I first started freelancing, it took a while to find a publication willing to take me on as a stringer. Just by luck, I was working as the manager of a mom-and-pop travel agency. A friend at another agency signed me up for a press trip to Guatemala at a trade show. At the time I wasn’t writing for any publication and needed an assignment to go on the trip. I cold called the managing editor of a travel trade magazine. She was interested in the destination and gave me an assignment to write about tourism there. Upon publication, I was to be paid a whopping $30. She liked my article so much, she started assigning me more of them. Soon, I was writing two or three articles a week for her. These pieces weren’t especially complicated to research or difficult to write, which left me time to try to get articles published in other publications.

Four years later, I had quit my day job as a travel agent and jumped head first into freelance writing. One morning I cold called the managing editor of the Philadelphia Business Journal—I live just outside the city—and explained that I had experience covering business topics (Isn’t tourism a business?) and was interested in writing for him. I pitched an idea to him, which he liked, and I got my first assignment. After completing several other assignments, he began to call on me every week, sometimes twice, to cover a variety of business stories. Some were news while others were features. He gave me feedback on my articles, telling me what he wanted or didn’t want. As time went on, he even told me who to call on for interviews and gave me their phone numbers. The Journal paid $160 for each article. In most cases, I had three or four days to complete a story from research to finished article. He knew I could turn a story around very fast and that he could count on me to be accurate. At the same time, I was still writing for my original travel trade publication.

While the per article amount may not seem like a lot in either case, it quickly became income I could count on while I tried to get published in national magazines.

Working for both publications, I amassed a tidy file of contacts in business and tourism. I knew who to call for what and could get in touch with people quickly. This was before the Internet and E-mail. The articles I wrote for these publications and others like them became the core of my freelance business—at least until I got published in larger national magazines.

Do the Hustle

Are you sitting in your corporate cubicle—either figuratively or literally—dreaming of the day when you can quit the rat race and write full time? Does the proverbial grass seem greener on the side of freelancing? Is your boss hounding you to get those reports that were due last week on his or her desk by 5 P.M? If you answered yes to any or all of these questions, then you may be in for a rude awakening when you finally do quit your day job and devote all your time and energies to writing.

Writing and writing to sell are two completely different things. In the first you may write for yourself, for the love of it, not worrying about how much time you’re spending on a piece, satisfied only that you’ve managed to put something, anything, down on paper. In the second, you need to be disciplined, to make sure you finish work on time and get it in so you can get paid. In freelancing, no work equals no pay. Are you willing to live the romantic life of a starving artist? Or do you like to eat three meals a day. If so, you’ll need to do the hustle—the entrepreneurial hustle, that is.

For the moment, forget about the writing. Have you checked your finances recently? Can you live happily without a steady salary, being paid monthly or perhaps in six months? How are you going to be able to live for an extended period while you develop your writing business? Perhaps you better check your older relatives and see if any are ready to kick the bucket and leave you handsomely endowed. For most beginning freelancers that’s not an option.

When you work for someone else, you can get up and leave at 5 P.M. unless you have work to catch up on. Are you going to be willing to work 12 hours a day, seven days a week? Sure, as a freelancer you can set your own hours. But remember, no work, no pay. That’s going to have to become your mantra.

And what about your family? Will you be able to juggle your personal life around your business? If you’re a male, will your wife assume you’ll be able to pick up the kids from school—since you’re not really doing anything anyway? If a female, will you be able to stop and cook dinner for your family or go grocery shopping? To become successful, you’ll have to learn to set priorities. Life won’t be as easy as it was when you worked for someone else.

Work won’t come to you. You’ll have to find it. And that’s where the hustle comes in. You’ll have to study the markets, seek out the best paying ones, or at least the ones at which you have the best chance at publication. This all takes time—time away from writing, itself. Wasn’t that why you wanted to quit your day job in the first place, to write.