So You’ve Decided to Retire, Now What?

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

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

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

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

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

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

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

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

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

Mastering the Possibilities

For years, Mastercard brought in customers with the now-famous slogan, “Master the possibilities.” You can also apply it to your freelancing career. But with freelancing it’s less about using your credit card than figuring out how to find outlets for your work.

Today’s publishing environment offers a wealth of possibilities. It used to be that freelancers had only the print world of magazines and newspapers to choose from when searching for markets. Now that rather closed market has been expanded to include all sorts of publications, both print and digital.

Readers resisted the digital publications for quite a while, but the appearance of e-readers and tablets like the Kindle and Nook gave readers an infinite number of choices.

Writers, too, were a bit hesitant to write for digital markets because most of them didn’t pay. Unfortunately, many still don’t. But breaking in is a lot easier digitally. You can easily study past issues of an online magazine or Web site just be searching for it. Searching offers another advantage—you can see easily see what subject matter is trending. You’re shots in the dark will be fewer. 

Before you go searching, however, you have to figure out exactly what type of writing you want to do. Are you planning to write articles for publication, either in print or online or both? Or are you planning on writing mostly books, using shorter pieces to promote them? And while both require the same writing skills, each requires a different mind set and marketing know how.

As little as 20 years ago, all you had to do was send your pieces to publications that might print them and you’d get paid—maybe not very much, but you would get something. Since there weren’t very many publications or writers, competition wasn’t as keen. But with the advance of technology and the creation of the Internet, all that changed. The publishing world has exploded with what seems an endless list of possibilities.

Unfortunately, just as there are many more opportunities to get published, so are there many more, especially online, that don’t pay anything. For at least the first 10 years, readers and writers looked at the Internet as a chaotic medium for amateurs. Publishers who did have online publications had very low budgets, so they didn’t pay for articles. And while they were a good way to build up your publishing clips, you can’t live on non-paying markets.

With the ease of online publishing and self-publishing through e-books, many more would-be writers are finding it easier to get published, even if they have to do it themselves, thus by-passing the hurdles of the traditional route.

A good way to start out and get your work out there is to write a weekly blog. When blogs first began, the recommendation was to publish a blog daily. But a weekly blog becomes more like a column and readers will follow it if you offer them information that they can use.

While you’re blog starts to build a following, you can study one of the annual market guides—Writer’s Market or Literary Marketplace.

The first on the list, Writer’s Market, published by Writer’s Digest Books, has been around since 1921 and is the least expensive with a list price of $50, although you can purchase it online directly from Writer’s Digest for $30. You can also get it by monthly subscription. It features over 8,000 listings of newspaper and magazine markets, book publishers, including small presses, playwriting and screenwriting markets, and even those for greeting cards. Each listing gives you the information you need to see if your work will fit. And while there are many markets in which your work will be a good match, there are 10 times as many that it will not. And while the book has it’s good points, it offers a lot of markets that just don’t pay well or not at all. Plus, it’s so widely used that many of the publications listed get overwhelmed with submissions.

Literary Marketplace claims it’s the “ultimate insider’s guide” to the publishing industry. For a whopping $360 for first-time buyers, it ought to be. It offers 54 sections in which it organizes publishers, agents, advertising agencies, associations, distributors, and events. It features twice the number of listings as Writer’s Market, but concentrates mostly on book publishing. Since its cost is prohibitive, you’ll have to use it at your local library.

Whether you use one or the other or both of these annuals will depend on how often you’re repeatedly writing for certain markets, how good you are at selling spin-off material, and where you wish to focus your publishing efforts each year.
                                       
As you progress in your freelancing career, you’ll find more markets that aren’t listed in the above annuals. Publishers of all kinds choose whether they want to be published in them. Many refuse because doing so opens them up to receiving tons of correspondence from too many wannabee writers who have neither the skill or talent to write well. They prefer to be more selective. Also, new technologies create new markets. In the last five years many opportunities have opened up for educational and recreational material for home and school computers.

Because editors play musical chairs and their requirements change regularly, it’s a good idea to use the latest edition of each of the annuals. It’s important to know the exact name, spelling, title, etc., of a publication’s editor. If you’re going to impress editors, you must get their names right.

In the case of Writer’s Market, you can check out last year’s edition from the stacks at your library, find what publications look good, and make a list of them, then go back to the library and find those on your list in the latest edition in the reference section and note the changes. Because of the high cost of Literary Marketplace, you’ll have to do all your work using the reference edition at the library.

Once you've decided on a specialty, you should subscribe to the best publications in your chosen field, or track them down regularly wherever you can. If you’re serious about book publishing, then you’ll want to read Publishers Weekly regularly at your local library or online.

Whether markets appear to be a broadening or a row of locked doors is entirely up to you, your energies, ambitions, and skills as a writer, promoter, and, most importantly, a salesperson.

Writing for the Younger Set

Have you ever thought about writing for children? Most writers have the misconception that writing for them takes less skill than writing for adults. In fact, the opposite is true. While most people have either read children’s books when they were kids or have read them to their children or grandchildren, they don’t associate the skills needed to write them with the ones they already have.

Books written for children are special, but not in the way you think. They require as much knowledge of our language as you already have and the steps to producing a children’s book are similar to what you would use to produce a book for adults. Just because a children’s book has fewer words doesn’t mean that it takes less planning and forethought. And don't fall victim to the misconception that writing for kids is a stepping stone to getting published in adult fiction because the writing is shorter and simpler.

The fact is that it’s not easy to publish children’s books. The more you learn about the field and the business of children's publishing, the better equipped you’ll be to achieve success. This is what you should be doing when writing for adults.

But before you start studying how children’s books are published, it’s a good idea to become familiar with their categories. Generally, children’s books fall into six major categories—picture book (toddler to grade 4), easy reader ( kindergarten to grade 3), young chapter book (grades 2 to 4), middle grade novels(grades 3 to 7), young adult novels (grades 8 to 12)., and nonfiction. Publishers base each of them, except nonfiction, on grades in school and also on age. So it’s logical that the more familiar you are with children in the age group of the category in which your book will be placed, the better.

The categories of children’s books are only meant as a guide. Many of today’s books fall somewhere between one category and another.

A generation ago, children's stories were much more idealistic. Main characters almost exclusively came from white, middle-class suburban families. Stories often contained lessons. And the moral was always clear.

In addition to being "politically correct, today's children's stories are more about fun.
In order to get them to read a book, you have to entertain them.

There’s no magic trick. Finding success in the children's market is like any other genre. It takes persistence, patience, plenty of revising, and a true appreciation of children's literature.

Opportunities are limitless. For every idea there’s a potential market, including short stories, chapter books, articles, picture books and poetry. Topics can be serious, funny, factual or pure fantasy. And there's a market for just about any topic, writing style, and genre.

Before you get into children’s writing, ask yourself the following: Do you enjoy browsing the library shelves in the kids' department? Do you find yourself flipping through picture books when you visit bookstores? Do you still like to read kids' books? If you answered yes to each of these questions, then you’re going in the right direction.

Next Week: How to Get Started in Children’s Writing.

While Facebook is probably the most widely known social network on the Web, it’s not the only one of use to writers. Facebook takes in everybody, not just one group. Sure you can create a professional page, but it’s main purpose is to connect people. As a writer, you may want to socialize on a more professional level, targeting those who can help advance your career. For this, you need to join LinkedIn, a social network of business professionals.

LinkedIn
Unlike Facebook, the people that use this network come from all sorts of professional careers. You’re more likely to find editors, publishers, and public relations consultants here. But it takes time to build a useful network of contacts, so be patient.

Look at LinkedIn as a tool in your marketing arsenal, not as a fast way to get to an editor or agent.

As with other social networking sites, you have a profile page and a network of connections. You can also join groups, pose questions to your network/groups, post events and add widgets, such as your blog feed, to your profile.

LinkedIn creates visibility for what you do and offer. Your profile will appear in search engines and can be accessed by the public if you allow it to. The site also allows people to publicly recommend your professional work. Used wisely, it’s an effective and dynamic way to network and spur new ideas for promoting your writing.

As with Facebook, you’ll be able to create a profile on LinkedIn. But instead of posting your resume, show what you’ve achieved—examples of your work and excerpts from your books.

LinkedIn has a feature that other social networks don’t have. It allows its members to recommend other members to confirm the type and quality of their work. In getting work as a freelance writer, recommendations from editors, publishers, and publicists are important.

Like Facebook, you can post helpful articles, tips, and share links to sites that you think your followers may be interested in. And don’t forget to periodically link to your own Web sites and blogs and other places online where your work can be found.

TWITTER
Twitter is a mini-blogging network that is probably the least useful for you as a writer. First, you’re limited to 140 characters, plus a photo, which doesn’t give you much space to leave a detailed message like Facebook or LinkedIn. v

If you choose to use Twitter, follow people or companies that can offer you entertainment, information, promotion advice, inspiration, or news. Agents, editors, publishers, other authors, publicists are tweeting.

When you follow someone on Twitter, they generally respond in kind. This is true whether you’re following your cousin or the Washington Post. In order to send a message to a fellow tweeter, you must be following him or her.

With Twitter, it’s important for you to know why you’re tweeting. Are you doing it for fun,  to engage potential readership, to drive people to your website, or to spread the word about a giveaway or an upcoming book?

Use Tinyurl.com to add links to your tweets. This site turns unwieldy URLs into more manageable ones, helping you fit links into Twitter’s 140-character limit.

Above all, figure out how posting to Twitter will fit into your overall promotional strategy. You’ll find you won’t have the time to post to a group of social media sites, so choose which ones you use wisely.

Dreams of an Indie Author

With the advent of digital book publishing, many beginning writers think that all they have to do is write a book and readers will rush to Amazon to buy it. Today’s indie (independent) authors have realized the sad fact that books don’t sell themselves.

Even when writers relied on print book publishers to get their books to market, the percentage of those who earned enough from royalties to make a living at book writing was relatively low. True, though royalty percentages have increased from lows of 8-10 percent of a book’s price—sometimes the net price (the amount paid by wholesalers)— to 50 percent for ebooks, the chances that they would have earned their advances were slim. While bestselling authors can make a killing—for example the author of the Harry Potter books—most only scrape by.

When writers had books published by big-name publishers, they assumed that their publisher would help promote their books. In recent years, publishers promoted most books less and less, leaving that up to the authors. Indie authors, on the other hand, must not only write their books, but promote them as well. Some spend twice as much time on promoting their books as they did writing them.

Before getting depressed and deciding not to write that book you’ve been planning, let’s take a moment to look at what you need to do to make it a success.

Write for  your readers, not yourself. While you may be writing a book on a subject that’s near and dear to you, chances are that it won’t be near and dear to your readers. Beginning writers often ignore that the reader’s interest is the most important part of the writing process. Whatever you write about, you must relate it to your readers in order for them to react to and enjoy it.

If you’re writing a memoir, don’t assume your story is of any interest to anyone but yourself, your family and your friends. Unless you are an A-list celebrity or have done something truly extraordinary that makes a stranger’s jaw drop, readers won’t buy your book.

Be sure to have someone else edit your book. Editing a book is an important part of the process, but it’s not something you can or should do. An editor sees your book with fresh eyes, not only to pinpoint grammatical problems but also problems with content and order. Find a someone who edits books rather then giving it to a friend to look over.

Start promoting on social media at least six months before you plan to launch your book. You’ll need to spend several hours each day on social media interacting with fans, building rapport by providing interesting content. Tease them with short excerpts and little-known facts about your subject. Above all, learn all you can about marketing and promotion.

Avoid writing about trending subjects. While it’s great to write about a subject that’s trending on social media, by the time you actually get your book finished, it probably won’t be trending anymore.

Don’t plan on earning a living from indie writing anytime soon. Print publishers are paying out shrinking advances, and many are only purchasing one book a year from each writer. Agents take 15 percent of that and the IRS takes 20-30 percent. What you’re left with isn’t much. In fact, indie writers without some additional sources of income will find making a living a challenge.

A Writer's Haunted Life

When is a writer’s life like a haunted house? Always.

Writers, most of them anyway, live a haunted life. Ghosts appear at every turn. Sometimes, these are the ghosts of previously written pieces that come around to bite them in the ass. Sometimes, these are the ghosts of editors who still carry a grudge for one reason or another. And sometimes, these are the ghosts of poorly made decisions. But whatever haunts you, you can bet it will be far worse than going through a haunted house during the Halloween season.

While visiting a haunted house is meant to be entertaining, living a haunted life certainly isn’t. The bad times far outway the good ones. Usually the euphoria that comes with the good times certainly lingers longer. But the truth is that bad things that happen to writers can have lasting effects.

Take the first time someone critiques your work. You feel scared as hell—your skin may itch, your eyes water, your stomach churns. And what if the critique turns out to be horrible. Will you crawl in a hole and die? Certainly not. But you may get terribly depressed. In fact, you may never write again. It happens far more often than you think.

Perhaps you’ve been working with an editor for a long stretch and you have developed a great working relationship. Then the editor tells you that they’re leaving for another job. You know what you have, but you have no idea what you’ll be getting. The new editor may love your work and give you more than you can handle. Or the new editor may end up telling you can’t write, leaving you without a good regular market.

Or what about when an editor promises you’ll get paid, but you never see the money. If you’re a full-time freelancer, the bill collector demons may be knocking on your door—or calling you every hour. Boy, could you use that money now. But it never arrives. And what about all the work you put into that piece. Sometimes, you can’t even sell it elsewhere.

But then you get a call from your publisher with a nod to a book proposal you sent him months ago. Hallelujah! You dig in and begin working on the book. You’re having a fantastic time. You send in the manuscript. Your editor loves it. Then you wait. One day, you get an Email telling you the publisher decided not to publish your book because the market took a downturn. You get to keep the advance. But no one will ever read your book. And unless the publisher releases you from your contract, you’re stuck.

Haunted houses are full of surprises. They’re meant to be. But so will your life be as a writer. Often you won’t know what the next day will bring. Too many surprises can cause a lot of stress. This turns a lot of beginning writers away from freelancing. The New York Times is in the process of laying off nearly 100 reporters and editors. You can bet a bunch of them will try their hand at freelancing. They should succeed, but many of them won’t. Why? Because they don’t like surprises. Working for a salary has its advantages.

It takes more than writing skill to be a successful writer. It takes stamina. You’ve got to be on top of your game all the time. And when you’re hit with too many ghosts coming at you, you tend to back off and your writing suffers.

You’ve only heard about all the good things that happen to famous writers. But they, too, have had their share of surprises—ghosts that have come back to haunt them. 

How Good a Promotional Tool is Facebook?

Social media is all the rage today. It seems everyone—or almost everyone—is on Facebook, the leading social media platform. There’s a lot of buzz about how social media, especially Facebook, is a prime promotional medium for small businesses. But as a writer, is Facebook for you? And if so, how?

First, it may be good to begin by dividing writers into two groups—those who write books, either fiction or non-fiction, and those who write shorter pieces like short stories and articles. You may ask what’s the difference. There definitely is one.

If you’re a book writer, commonly referred to as an author although a writer nonetheless, you produce a product that you can sell directly to readers. With the ever-increasing proliferation of ebooks available from such online distributors as Amazon and Barnes and Noble, among others, you can write, publish, and sell your books directly. But that also means you have to do your own promotion. And that’s where social media networks like Facebook come in.

Create an Author Page
By creating a Facebook author page, you can promote your books and stay in touch with your growing list of reader fans. Through your author page, you can alert fans to book signings, new or upcoming books, reprints of older editions, updates of non-fiction books, and special book sales. Author pages also allow you to offer teasers for upcoming books in order to build reader anticipation.

Unfortunately, the range of options isn’t as great on Facebook if you write short stories or articles. This is mainly because you normally don’t sell directly to readers but instead sell your work to magazine editors. Editors are busy people and don’t have time to actively seek out writers on Facebook, so unless you know an editor personally, chances are they won’t be following you on Facebook. Of course, you could sell your short stories and articles either individually or in collections as ebooks for Kindle or Nook. This is especially good for pieces that are too long for magazines.

In the above case, a Facebook author page probably isn’t the best option. Instead, consider setting up a business or professional page on Facebook. It works much the same way as an author page but allows you to also promote other writing projects, courses, and other communication services. For this you might want to create an umbrella title, such as “Your Name Communications,” substituting your name in the title. That’s broad enough to encompass a variety of projects and services. Check out my page for Bob Brooke Communications.

Remember, both author pages and professional pages have “likes” not “friends.” The people who follow them are essentially fans of your work and want to know more about you and what you write about.

Facebook’s Downside
Unfortunately, there’s a downside to Facebook. Many users, perhaps yourself included, have become frustrated that no one “likes” or comments or shares their posts. With the shear volume of messages on Facebook each day, that’s only natural. At best, it’s an indirect communication medium. Most of the time only those Facebook users who are actual real-life family members, friends, and acquaintances take the time to “like” or comment on a post. So you can see that could seriously interfere with promoting yourself as a writer or promoting your writing products.

However, if you have either an author or professional page, you have control of the content you post there. You decide just what you want your fans to know. And because they like you as a writer, they’ll interact to what you tell them. And it’s only on author or professional pages that you can see how many people have seen your posts. Personal Facebook pages don’t offer that. In this way, you can see which posts receive more attention and can then post accordingly. Think of your author or professional page as being the online headquarters of your fan club.

Getting the Most Out of Facebook
So how can you get the most promotional mileage out of Facebook? First, Facebook isn’t the place to post your writing for feedback or criticism. Facebook users generally don’t read more than they have to. Everyone is too busy to linger over long messages. If you want your fans to read your work, create a Web site or post to someone else’s site and then post a link on Facebook back to either.

Another way to get people on Facebook to read and share what you have to say is to write a blog, then link your blog to your Facebook page, either directly or through Networked Blogs. While you may not notice too many Facebook users accessing your blog on Facebook, itself, they may do so through any number of other outlets through Networked Blogs. You can even set up a special Blog App tab on your Facebook Page that enables fans to go directly to all your past blog posts right on your Facebook page.

Remember, the main purpose of your Facebook page is to keep your fans in the loop. Keep them informed as to what’s going on in your professional life. Don’t just hawk your books or other writing. They’re bombarded with sales pitches all day long on the Internet. Try to be a bit more subtle. Take them behind the scenes when creating a book or perhaps give them actual information on where your books are set. Offer contests, trivia about your book’s subjects, reviews, writing tips, whatever. Facebook users love to look at photos, cartoons, and infographics (photos with text overlay). Post these regularly on your favorite subjects on your Facebook page and you’ll definitely see results.

For some good examples, check out the author page for mystery writer Elena Santangelo. And the professional page for Bowers Watch and Clock Repair, even though this isn’t a writing page. Both have been extremely successful in their Facebook efforts. 

And one more thing: You need to have patience, lots of it. A successful Facebook Page doesn’t happen overnight. It requires a lot of effort and a bit of time to maintain it. If you don’t have enough of either of those, don’t bother.

What's the Rush?

Everyone today seems to be in a rush to do everything. And that includes writers. The trend over the last several years seems to be to write a book, namely a novel, in just 30 days. While that may not be impossible, is it good for the book or the writer? The answer is probably not.

Books like Write Your Novel in a Month and 90 Days to Your Novel from Writer’s Digest Books say something about the world we live in.

Many beginning writers look at a book as their ticket to fame. Sure, a few fine writers have achieved fame from their books but only because they were really good writers in the first place who thought out their books carefully.

This all began in 1999 with National Novel Writing Month, abbreviated to NaNoWriMo, an annual Internet-based creative writing project that takes place during November of each year. It challenges participants to write 50,000 words of a new novel from November 1st until the deadline at 11:59 P.M. on November 30th. Supposedly, the goal of NaNoWriMo is to get people writing, who might not otherwise do so, and keep them motivated throughout the process.

To ensure this, the project tries to make writing seem like a fun, community activity.  And while it can be fun, writing, itself is a solitary activity. The Web site does provides participants with tips for combating writer's block, lists of local places where writers participating in the project meet, and an online support through forums.

NaNoWriMo focuses on completion instead of perfection. It emphasizes the length of a book rather than the quality, encouraging writers to finish their first draft so that it can later be edited by the author.  Encouraging creativity worldwide, the project began with  21 participants and now boasts a participation of over 200,000 – writing a total of over 2.8 billion words. That’s a lot of words, but do they mean anything.  Of the thousands of participants completing thousands of novels or parts of novels, only 100 have been published by traditional book publishers. Even taking into consideration others which have been self-published, that’s still not a great percentage for the number of would-be writers involved.

While finishing a novel in 30 days may seem like an achievement, it’s no more one than running in one of those 10K races for some charity. NaNoWriMo is essentially a race against time. And while it’s intentions are admirable, too many wannabee writers have begun to think that they should rush to get their novel done in a certain amount of time.  This is probably because they lack the long-term motivation to see a book to its completion. And in many cases, their writing skills aren’t up to writing a project of a book’s magnitude.

What many beginning writers fail to see is that what they write is a very rough draft that will need hours and hours of work to get it to the polished, published stage. The best novels and non-fiction books out there takes months, sometimes years, to write. They take careful planning and, in the case of novels, plotting. “Off and running” just won’t do.

Creating Your Own Playbook

Before a football team goes out on the field to play the opposition, they have to learn the plays in a playbook, assembled by the coach. Without these plays, the game would be chaotic, plus there wouldn’t be any way for one team to defend itself against the other. And so it is with freelance writing.

Most beginning writers don’t give any thought to planning much of anything. They’ve been taught in school that ideas and words will just flow out of their brain like magic. But what most of them soon realize is that doesn’t happen—at least not very often. Plus, even though they think they know how to write, they probably don’t, and surely they really don’t know how to write whatever form they choose—articles, short stories, novels, non-fiction books, plays and screenplays.

There’s no set playbook out there. The truth is that you have to create your own, based on your writing skill level and interests. You have to do what works best for you.

To begin, you need to decide how you’re going to learn about how to do the type of writing you want to do. Will you take a course or two or three, or will you learn on your own. Taking classes is obviously the easiest way, but it may not afford you the information you want and need.  If you’re at all self disciplined, you can teach yourself.

Today, the Internet provides a wide variety of resources for the beginning writer. Plus, there are books specifically written about the type of writing you want to do.

Search the Internet for how-to articles and examples of the writing you want to do. Print out the ones that you think will help you to understand this kind of writing. Get yourself a looseleaf binder and some dividers and assemble your playbook. You won’t be doing this all at once, so make sure you have enough room in the binder.

Look for information about getting ideas,  formatting, marketing, blocking, and developing a style, and most importantly, information on how to write articles, short stories, or whatever particular type of writing you’ve chosen. Each type of writing has its own rules and formatting. Learn what they are and start practicing them from the start.

After you’ve assembled your playbook, choose an article, story, or book idea and begin to work on it using the information you’ve gathered as a guide. Essentially, you’re creating your own guidebook. Use your playbook over and over until you’ve developed your own procedures and writing whatever you decide on becomes second nature.

At first you’ll follow the directions slowly, making sure to get the format of your writing correct. Then using the examples of writing like what you’re working on, continue building your article, story, or book. When you get it finished, use the marketing information to send your work to publishers.

As you continue to write, find better examples to analyze and make notes to add to your playbook. Nothing beats your own notes. While you can learn a lot from reading online or in books, having notes you made from these sources will help you tremendously. You can even assemble a virtual playbook for your tablet or e-reader instead of the paper variety.

Now that you have your playbook, get out on the field and win the game. 

So You Want to Write a Column

A regular option open to you as a freelance writer is to write a column. Though it sounds simple enough a column requires discipline, creativity, and most of all ideas—lots of them.

For many, writing one article is hard enough , but imagine having to come up with 52 of them—one each week—or at least 12 if you’re doing one monthly.

As you read this blog, you may ask yourself, “Isn’t this like a column?” Sort of, but not exactly.  A column is generally a short article on a theme that gets published regularly—weekly or monthly as a regular feature of a newspaper or magazine. A blog, on the other hand, may be posted regularly, but usually that’s up to the blogger. And while a blog may follow a general theme, it may stick to it loosely for a short time. A column, on the other hand, may go on for years.  The most important distinction is that a writer does the former for free and the latter for pay.

Over the years, the market for columns has changed dramatically. But one thing hasn’t: Publishers are still looking for new columnists. Generally, a column offers an insider’s view of a subject, of which the writer is an expert. It’s also a regular feature of a publication, either in print or online, and is personality-driven by the writer. It also contains an opinion or a point of view

A blog, on the other hand, provides for an interactive discussion with its readers. The blog writer  posts the blog, which the site displays in reverse chronological order—the most recent post appears first). Blogs can be the work of a single person or several persons, and often cover a single subject. And while a blog can be written by anyone, columnists are usually professional writers.

To be a successful columnist, you need to find a specific niche, but not so specific as to narrow your potential audience and topics of your column. You’ll have to find out whether other columnists are writing on the same subject and study their work to see how it differs from yours.

After you’ve done that , you’ll need to outline some topic ideas and write several sample columns to show to editors. It’s important to stay ahead of the game. You should continually update and add to your topic list so that you’re never at a want for ideas.

Because columns are short and published regularly, they don’t usually pay as much as even shorter regular articles. An advantage to writing a column is that you can publish it in several noncompeting market at the same time, thus increasing the amount you earn per column. 

In order to have a successful column, you need to come up with a unique angle or approach. You may wish to take the outspoken approach. Perhaps you’ll deal with controversial topics within you column’s subject area. If you feel knowledgeable about a subject, then a column may be just for you. You’ll need a substantial amount of knowledge and understanding about a subject to come up with topics week after week or month after month.

Next Week:  More on writing columns.

All Neatly Wrapped Up

I’m sure you’ve seen the piles of books on the discount tables in bookshops. Perhaps you’ve bought a few dozen copies over the last few years.

Some of these, while they have an author or several listed, just don’t seem like the kind of books a writer might come up with. You know the kind—diet books, coffee table books, health books, travel guides. Well, you’re right. They aren’t.

These types of books most likely resulted from a book package assembled by what’s known as a “book packager.” All are non-fiction and many are part of a series.

So what is a book packager? Instead of a writer coming up with an idea, a third party either creates the idea for a book or gets it from a publisher looking to produce a book on a particular subject to compete with other houses publishing books on the same subject. For instance, ever publisher of travel books wants to have at least one on Mexico, even if duplicates what the competition has on the shelves.

The book packager acts much like a film producer, thinking up the idea, hiring a writer or writers, finding a publisher, and often hiring illustrators, photographers, indexers, cover designers, and the like. In other words, the packager produces the whole package.

Publishers like to work with packagers because the latter does most of the work of producing a book. The publisher also gets exactly what he or she wants and doesn’t have to waste time shopping around.

Sometimes, publishers act as their own packagers, then shop the book package around to agents who find a writer or writers.

So what’s the advantage of working with a book packager? For one thing, you don’t have to go through the agonizing frustration of trying to sell a book idea to a publisher. The idea has already been sold and approved. All you need to do is agree to write it.

But there is a catch. In order to work with book packagers, you have to have been published already—usually a book or two, plus lots of articles—and on in a particular subject area.

Book packagers are business people who look for writers who specialize in a particular subject area. They want a writer who knows a subject well enough and has enough contacts to get right into the project and not have to learn all the basics. They also want a writer who knows how to write a book—someone who has been through the process before. Deadlines for book package projects are notoriously tight—sometimes as little as 10 weeks. There’s no diddling here. Newbies need not apply.

Payment is often work for hire. In other words, you get paid a specified amount for the entire project, paid in three or four installments. This often works out better than if you sent in a book idea, got it approved, and got paid royalties. Most writers never see any additional money beyond their advance. All you have to do is write the book and do a final edit on the galleys. It’s up to the publisher and/or packager to promote the book. Often the publisher doesn’t care how many copies sell as long as he or she maintains a presence on the book store shelf alongside the competition.

If you think you might be interested in giving this a try, you’ll have to make yourself known. That means promoting yourself and your work through whatever means possible. The more well know you are in a particular subject field, the more likely book packagers will come to you.

On a Clear Day You Can See Forever

There's money to be made from freelance writing—lots of it. For a few writers, this means big bucks. But for most writers, freelancing provides a modest income.

Today, the markets have changed drastically. While there may be fewer magazines and book publishers out there, other opportunities have opened up. We live and work in the digital age, a time when anything is possible. As they say, think outside the box. In fact, throw the box away.

There’s a vast expanse where whatever you write can find a home. The diversity of the marketplace is such that there are more ways for you to strike pay dirt than even some longtime professionals realize.

The flip side of the coin is the horde of writers and would-be writers after the bounty. There’s some 70,000 people in the United States alone that call themselves writers and have clippings to prove it. That’s a lot of competition.

Some major New York book publishers receive over 10,000 unsolicited manuscripts a year, out of which they may publish one or two. Today, it’s the sales department that decides what’s going to be published. It has less to do with the writing and more to do with the profit potential if a book gets published or not.

The average high-circulation magazine receives approximately 200 manuscripts a month. Some contend that the odds of selling to those outlets are overwhelmingly difficult. That's not necessarily so. If you’re a mediocre writer, then yes, you don’t have a chance in hell. But if you’re a more than competent writer, the chances of you selling are far greater. Perhaps only 20 of those 200 manuscripts will be good enough for an editor to take the time to read them.

Bear in mind that the flood of material that washes over editors' desks in publishing houses and magazine offices, in newspaper and syndicate offices, in television and movie producers' studios, consists mostly of badly written material. Well-conceived, well-written, and well-targeted material is scarce. Currently marketable material is even less available. The trend-setting story or article series is an absolute rarity.

Keep the following thought uppermost in your mind as you approach each new and potentially successful day: The many benefits of the freelance life and riches from your writing efforts, like the gold that lies under the mountains, come to those with the knowledge and ability to dig in the right places, the proper tools, and the overriding ambition to find it despite the often back-breaking work that's required. If you’re one of those 70,000 freelance writers, then you’ve made it.

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.

Do You Need an Agent?

It’s true, a writer gains a certain amount of prestige by having an agent. But before you go there, you need to pay your dues. And an agent can’t help you with that. It’s all up to you.

An agent is for a writer who is too busy to sell his or her work. And even if you have time to market your writing, an agent can seek out better paying markets for you. But having an agent doesn’t guarantee that you’ll get more money or that you’ll even get published. So if you’re a beginning writer, forget about getting an agent and get to work.

If you’ve been writing and publishing for a while, this may be the time for you to seek out the services of an agent. But do you really know what an agent can do for you?

A good agent knows which publishing houses are in the market for what sort of book or writing project. They know which publisher will pay which advance and whether, when the time comes, which will release which rights. Often an agent will know just who to send a proposal to and which ones are likely to go forward with it.

A good agent also is in constant touch with those who buy ideas, books, movie treatments, scripts for TV shows, and subsidiary rights. To many writers, an agent is also their best friend and professional confidant—part father, part salesman, part lawyer, and part literary critic. But most of all, an agent can lend a sympathetic ear. He or she understands how a writer feels.

Agents save editors time and money. They save them the hassle of going through piles of terrible manuscripts by directing them to the good ones. In essence, an agent acts as the first reader—as a person who has the experience to tell the great from the terrible. And then, of course, there’s the growing tendency for publishers to refuse to read anything that comes in unsolicited. They often give preference to material coming from an agent to manuscripts that come in cold.

Generally, while agents negotiate book contracts and subsidiary rights, they also negotiate lots of other deals for busy writers—deals that the writer may never have thought of. Depending on the arrangement you make, your agent may handle all of your work, only your books, or only certain kinds of writing. Some agents will tell you up front what they will and won’t deal with.

Agents usually don’t handle short pieces of writing like articles and short stories. They’re in it for the big bucks. Let’s face it, after you’d pay an agent his or her 10-15 percent commission, you’d be left with much less than if you sold your shorter pieces yourself.

Your agent can also act to resolve conflicts between you and your publisher. They push for timely advances—they don’t get paid until you do. And, more importantly, they’ll help you sort out hard-to-read book contracts which if not understood properly can cost you dearly.

So do you need an agent? Yes and no. Writers sell nearly a third of all literary works by themselves, without the help of an agent. By negotiating your own contract, you may just walk away with more money and more perks. But that’s only after you’ve been in the business awhile and understand the nuances of contractual agreements. An agent can help you wade through the contractual mindfield. They know what to look for and you don’t.

Royalties Don’t Always Amount to a Kingly Sum

It seems every writer wants to write a book. While writing one may give you a great ego boost, it probably won’t make you rich. In fact, it will probably pay less in the long run than shorter writing projects. Income from books traditionally comes from royalties. But understanding royalties in today’s market can be difficult.

Besides negotiating for an advance, you'll be negotiating for royalties on your book or a percentage of the retail price of the number of copies of your book sold by the publisher. The publisher adds the amount of the percentage to your book contract after the two of you agree to it.

Traditionally, the escalating royalty schedule for adult hardcover books has been 10 percent for the first 5,000 copies sold, escalating to 12 percent for the next 5,000, and then to15 percent for all copies sold after that.

The traditional practice was to compute these royalty rates and the author's earnings from the list price of all copies sold. So if sales totaled 3,000 copies at a $20 list price and a 10 percent rate, your royalty earnings would be $6,000. However, times have changed.

Today, publishers have a number of different distribution outlets open to them, some of which are through  chains of bookstores and other outlets to which the publisher sells your book for less than the list price. As a result, some standard contracts now provide that your royalties will be computed on net proceeds from the sale of the book rather than the number of copies sold—the money that the publisher collects after deducting costs for shipping, distribution, and miscellaneous services, generally about half the cover price. Though such contracts aren’t necessarily bad for you, nevertheless you should be wary of them.

Your contract may also contain a second set of royalty rates for "Special Discount Sales” to Amazon, Barnes & Noble, and such.  These percentages are usually half what the full royalty pays—if your full royalty pays 10, 12, and 15 percent, your special discount royalty might be 5, 6, and 7 percent. This scale will apply to "sales made at a discount greater than 58 percent, but not more than 75 percent of suggested retail price. And let’s face it, many more readers purchase books online, so that will lower your royalties substantially.


But the larger volume of sales made possible by wholesale deals may more than compensate for a smaller earning per copy. The important thing is to read carefully and fully understand what your contract actually provides and negotiate from that basis without illusions or misunderstandings about what you have agreed to. Today, there are wide range of royalty arrangements for books, and knowing that, you need to balance your idea of the book's potential against the mathematical results.

The best way to do this is to compute what you’d earn in various hypothetical cases if your royalty was based on list price, weigh that against earnings on net in the same cases, then decide from your result what you want to try for as far as royalties are concerned. You may want to ask your editor to give you  figures based on the publishing house’s sales department's projections.

Royalty rates for paperbacks may differ slightly from hard backs. Normally, they range from 5 to 20 percent, with 10 percent more common. But escalation rates are less standardized than for hardcover books and therefore require more negotiation. Don’t assume that because marketing techniques are different with paperbacks, escalation clauses are negligible. While a paperback publisher may count on selling what he can of his first print run—say from 100,000 to 250,000 copies—and then drop the book from his list, it just as often happens that after a number of years, he may reissue the book with another  large printing. You deserve a greater share of the profits from the reissued book and should have it provided for in the original contract.

Unlike trade-book publishers, those who publish textbooks can more accurately forecast sales. They base negotiation and contracts on previous experience with relatively stable school markets, so there's usually less flexibility in dealing with them. It's also easier to predict what you'll make for your work, so the whole process of contracting is less stressful.

Textbooks have a relatively fixed market, depending on the subject and the number and kind of schools in which they may be used. The competition from comparable texts is easier to identify than with trade books. A textbook publisher usually plans to market his books over a number of years.

By using simple calculations, you can work out the potential advantages of various royalty arrangements which might be acceptable to your publisher. Obviously, a text with a chance for a nice share of the national high school market for 10 years will call for different royalty arrangements than one which will be used only by special students or scholars for say 20 years, Thus, a typical college literature book, published in paperback, pays a royalty of 8 percent of 80 percent of list price on copies sold.

So if your book doesn’t have the potential to sell a lot of copies, you better negotiate for a reasonable advance and take the money and run because you’ll never see any additional funds from royalties, no matter how much you negotiate for them.

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.

Avoiding Deadends and Deadbeats

As you move forward in your freelance career, you’ll no doubt run into deadend markets and deadbeat editors. Perhaps the only problem you’ll have is to wait for the acceptance of your pieces. But chances are you’ll have many more negative experiences.

Editors are busy people. When an editor says he or she will send a reply to your query tomorrow, you can bet it will probably not arrive, at least not for a while. It pays to follow up with all your correspondence. Sending a polite reminder is good business, not hassling an editor.

Maybe you’ve been working with an editor for quite a while. You believe you have a good relationship. He’s told you that he likes your work. Then one day, you fail to get a response. It turns out that he moved on to a completely different type of publication—without telling you. You can try to track him down, but you’d be better off finding a new market.
                                         
In these uncertain economic times, it’s not unusual for a magazine to fold precipitously. You may have been waiting patiently to get paid, and it isn’t until several months later that you discover that the publisher went bankrupt.

Writers used to have to worry about whether the U.S. Postal Service delivered their manuscript. And even if your manuscript arrived it then got stuck in the mailroom. There seemed to be a definite relationship between how many floors a building had and how long your article sat in the mailroom. And if you sent your work to one of the higher paying periodicals, it most likely ended up in the slush pile where it may have sat for several weeks before an unpaid intern took a look at it.

Your article is accepted; you're jubilant. Then you get word from the editor that she had to kill your article. Even then you have to wait an unduly long time for the kill fee. Needless to say, the article's timeliness has been its undoing—the poor thing now is dead. You can’t even send it elsewhere.

And if you think that one or more of these may happen to you at various times, think again. It’s not uncommon in the freelance biz for nearly all of them to happen at the same time or at least one right after the other. It’s enough to drive a writer crazy.
                                               
Can you spot these possible disasters beforehand? In some cases, yes. But most of time, no. In fact, you may have no indication that a problem exists until the worst happens.

You can prevent some negative experiences from happening by taking a few precautions. Many writers refuse to do more than send a query to a new publication, then sit back and wait for the results. You’ll soon discover that there’s always a shakedown period at a new publication. You don't want to get caught in the fallout. Some magazines just don’t make it.

Magazines that pay on publication are notorious for creating problems. Publishers want to hang on to their money for as long as possible. Many times "pay on publication" means "several months or more after publication." But then, you may be trying to get into a new market. The number of publications paying on acceptance has dwindled with the recession. Do your homework and study the markets before you decide to send any work to them.

One tactic you might use is to wait the required time for an answer from a publisher or editor, then send a registered letter advising you're withdrawing your manuscript or query. You’ll then be free to submit it elsewhere.

To avoid problems once you get an assignment, you should make sure to immediately follow the conversation with a follow-up letter of assignment—sent by Email or regular mail—detailing the article topic, length, agreed-upon rates, delivery date, and expenses to be paid.

Lastly, save all Email messages from editors. When you do have a problem, you can then send forward the original message to the editor who may be denying what he or she said in the first place. It’s only then that you’ll exclaim, “Thank God for Email!”

Try, Try Again—All at the Same Time

Once taboo, multiple submission has become a fairly common practice in publishing today, especially in this economy, for certain types of articles, for some book proposals, and for finished book manuscripts. But if you want to try this method of marketing your work, you need to do it with caution. Usually, editors will accept a multiple submission if they know that others are receiving the same material at the same time. So it pays to be honest and aboveboard.

If you’re new to publishing, you may assume that the quickest and best way to reach potential customers is to send your article, short story, or book proposal out to as many editors as possible, hoping someone will pick it up for publication. While this may seem logical and works in other fields, this sales blitz technique doesn’t always work in publishing.

First, you may get positive replies from all of the editors at the same time. Unless they’re in non-competing markets, there’s no way all of them can publish your work at the same time. In once instance, a writer sent out an article to several publications. One editor replied and said he wanted to publish it. So the writer agreed. He didn’t hear from any of the other editors, so the writer assumed that none of them wanted it. A month later, he received an Email from one of the other editors, saying that she had published the writer’s article in the current issue of her magazine. The editor who had said he would publish the article did so in that same month. When he realized that the article has appeared in a competing publication, he was livid and told the writer he would never publish his pieces again. This sad story has a silver lining, however. As it turned out, the editor, who failed to inform the writer that she was going to publish his article, paid five times as much as the first one who did. The writer went on to become a regular contributor to the higher paying publication. But this isn’t usually the way the story ends.

Normally, when magazine editors find out that a writer is sending out multiple submissions, they blacklist that writer and make it impossible for him or her to sell to periodicals in that market. So when sending out articles or short stories to magazines in competing markets, you need to be extra cautious.

Only send a submission to more than one magazine editor if that publication is in a non-competing market. So before you decide to do this, compile a list of non-competing markets that may be interested in your piece. What defines a market is its demographic focus. So only send the article to one magazine aimed at seniors, one at small business owners, one to women, one to men, and so on. Markets are also defined by the subject matter of the periodical, such as travel, antiques, teens, finance, etc. And never, never send multiple submissions to the editors of top-paying magazines. That’s a sure-fire way of never getting published again. Remember, multiple submission works best with sales of one-time rights to non-competing markets, as with spin-offs (See last week’s blog.)

On the other hand, book writers routinely submit multiple book proposals to half a dozen editors at a time. While some magazine editors take their time replying to unsolicited submissions, most reply in a reasonable amount of time, especially with today’s Email. Book publishers, however, are notoriously slow.

As far as books are concerned, multiple submissions are simply good merchandising. You send out a partial book or proposal to a publisher, and you may have to wait up to two months for them to say no. If you received a two-month turn-around from six different publishers, one at a time, with your original, it would take you a year to cover all six. By sending out six partials or proposals at once you can cover the same publishers in two months, and get your product to 18 publishers in only six months. This is especially important if you have a subject that’s tied in with the news. Within a year or even less, the book idea might be so out of date it wouldn’t be worth publishing.

When agents offer book material to several editors at once, they tell them that they’re considering other offers. They don't, as a rule, use the term multiple submission since some editors still resent the idea. Other terms, such as "We're exploring this idea with several publications," seem to be more acceptable.

Priming the Pump

Everyone has seen those ads from lawyers on T.V. promising to get money for you for pain and suffering. The law community disdains those ads. And so it is with writers. It’s long been believed that writers are above advertising. Isn’t writing an art above hawking? While it might be for those starving writers hidden in expensive city lofts—there are no more cheap garrets to live in, they’ve been taken over by Yuppies—the fact is that in today’s market, you need to advertise. Well, at least promote yourself and your work.

Even the slightest bit of self-promotion helps. Send a copy of an article you’ve had published to other editors who might find it interesting. They might surprise you can contact you to do something related. That same article may lead to a book contract. Since you can never tell when such happy circumstances will occur, it never hurts to prime the pump a little.

Even the slightest bit of self-promotion helps. Send a copy of an article you’ve had published to other editors who might find it interesting. They might surprise you can contact you to do something related. That same article may lead to a book contract. Since you can never tell when such happy circumstances will occur, it never hurts to prime the pump a little.

You might also compose a letter of introduction listing the writing or other services you offer and send it to local businesses either by E-mail or regular mail. Be sure to add a note about the best time to contact you and follow up with a phone call.

There are all sorts of organizations you can add to your list of possible promotional outlets. You don't have to actually belong to them to reap benefits. Occasionally, you can attend seminars by other professionals as a guest of a member. Socialize and do some networking. Let it be known you're a local writer with a particular project in production. Discreetly dropping such mentions can lead to new assignments.

Seek out local organizations of publishing or public relations professionals. Meetings of these groups offer fertile ground for discovering possible writing jobs in the corporate world. And don’t forget your local Rotary, Kiwanis, or Knights of Columbus. Some of these, such as Rotary and Kiwanis have breakfast or luncheon meetings for which they’re always seeking speakers. And while nothing may happen immediately, you never know when someone will contact you seemingly out of the blue and need work done. In fact, that person heard you speak and remembered you.

With the advent of ebooks, it seems everyone is getting into self-publishing books. Let's say you're about to publish a book on the proper techniques of social networking. Make a list of the obvious places your book might sell. Then add other prospects, no matter how farfetched they may appear. Think in terms of target audiences—groups, professions, even individuals of a certain sex or age when you devise your list. Ask yourself "Who would be interested?" Exhaust all the possibilities. Send an E-mail to your target audiences, announcing the arrival of your book as well as where and how to get it.

Have you appeared or are going to appear on local T.V. or radio? One writer did and then received hundreds of E-mails and letters from interested viewers and listeners. Later he was about to publish a book on a related subject and sent flyers promoting it to every one who had contacted him from his media appearance.

Whenever you try a promotional technique, be sure to measure the response that particular tactic had. Did new contacts and firm assignments result from your efforts? How soon? Is there some way you might speed up the process? Should you adjust the technique for better results or avoid doing it again?

Lastly, don’t overlook using business cards. In today’s electronic world, you may think business cards are passé.  Most people can’t remember names, especially with the daily media overload. It's far more likely they'll remember yours if you hand them your card. This is especially true if your name is a tricky one to spell. A well-printed card on hand also says you’re professional. For really outstanding cards at little cost, go to VistaPrint.com. They offer 250 free cards as long as you pay the shipping costs. Of course, you’ll have to choose from one of their design templates, but they offer some very professional looking ones. For $10, you can get their 250 premium cards, customized for you. And don’t forget to save all those business cards you may receive. File them in a box where you can easily get to them when you need them.

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.