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Julie Knudson is a freelance writer who knows the meaning of persistence: She e-mailed over 300 trade magazine editors and landed more than a dozen regular clients and received over 80 requests for clips. I talked with Julie about how and why she did it, plus how to succeed with trade magazines.
When did you start out as a freelance writer?
I transitioned from being a corporate manager in a non-writing/non-marketing capacity to being a full-time freelancer about 4 years ago. At the time I focused almost exclusively on corporate writing and only dabbled in a few trade magazines along the way. I turned my attention in a serious way to trade publications a little less than a year ago.
How long did it take you to get your first assignment, and who was it with?
Initially I targeted trade markets that were related to my areas of expertise in the corporate world. My industry experience allowed me to pitch stories that were very relevant to those publications’ readerships. By zeroing in on what I knew, I was able to get my first assignment (from Facility Management Journal) within a few weeks.
You mentioned that you now have nine regular trade clients. How long did it take you to get them?
I had some fits and starts after my first few assignments. I felt overwhelmed (there are so many markets!) and my initial success at pitching turned out to be something of a roadblock—I didn’t know enough about other verticals to craft good ideas. Finally, after a bit of a kickstart from you, I pulled my trade magazine efforts together and really got down to the business. Once I started sending out LOIs in earnest, it took me about a month to land what turned out to be my first recurring trade client.
You e-mailed over 300 editors to have that success. What inspired you to send out to many e-mails?
I’ve emailed just over 300 editors. About 80 of them have asked for clips (I’ve been running at a 25-ish percent average for clip requests since I started) and over a dozen have become clients. I wouldn’t use those numbers as any kind of yardstick—they’re simply my numbers based on the markets I’ve contacted, the experience I’m able to offer each editor, and what they think of my clips. Other freelancers may have better or worse success at converting LOIs to assignments.
A couple of things inspired me to cast a wide net and to continue to be on the lookout for new markets. First, business relationships often need time to develop. An editor may not need a freelancer now, but putting a bug in their ear could pay off a year from now. Limiting my contacts to only those editors with an immediate need seems short-sighted. And second, I think it’s fair to look at contacting editors as something of a numbers game. Some editors get all their content from industry vendors or handle writing in-house, and so won’t need your services. You need to knock on a few doors before you know if they’re in the market for a freelancer.
How long did it take you to send LOIs to so many editors?
I started about 10 months ago and I’m still reaching out to new markets today, though at a slower pace. Initially I set aside time every few days, with a goal of sending out 25 LOIs each week. That number fluctuated based on my workload, but I’m still diligent in contacting at least a few new editors every week. When I’m regularly turning away high-paying work because I’m too overloaded, then maybe I’ll slow down.
What did you say in your letters of introduction…especially when you didn’t have many clips to
By: Linda Formichelli,
on 1/6/2011
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This is a Q&A with Sage Cohen, the author of The Productive Writer and Writing the Life Poetic, both from Writer’s Digest Books, and the poetry collection Like the Heart, the World. Her writing has appeared in publications including Writer’s Digest Magazine, Poet’s Market 2011, Cup of Comfort for Writers, The Oregonian, and How to Achieve a Heaven on Earth. Sage blogs and teaches at pathofpossibility.com.
Before we get started with the Q&A, two quick announcements:
1. Sage is giving away three signed copies of The Productive Writer. I read it and it’s great! To enter the contest, simply post a comment below. Sage will randomly draw three lucky winners from among the commenters!
2. Also, don’t forget that tonight is the free teleclass Using Fear as Fuel When Writing and Querying, taught by none other than Sage Cohen. Visit the Teleclasses page to get more info and sign up.
Can you tell us how you landed this awesome book deal with Writer’s Digest Books?
Sure. It was a mix of luck, timing, good professional relationships and an effective query.
My first book, Writing the Life Poetic, was published by Writer’s Digest Books. When I learned that another editor at WDB wanted to publish a book focused on organization for writers, I pitched it and they bought it. As we got under way, the topic fanned out a bit and morphed from “organization” to “productivity.” It’s been a really fun and relevant topic for me, and I’m grateful to have had the opportunity to share my ideas with readers.
What got you interested in productivity for writers?
I’ve been working with writers as a coach, teacher and editor for nearly 20 years now. I realized recently that what I’ve been trying to accomplish in everything I do is simply: to help people align themselves with possibility–by following desire into effective action. What I’ve found is that we’re so used to getting in our own way, we may have no idea how very likely our dreams and intentions may be. My goal is to help writers find a greater alignment between their writing and their lives–by tending all that is possible along the way. By focusing on productivity, writers can hone the attitudes and skills that will make the possible far more probable.
What does productivity mean to you? Is it all about getting more work done faster?
Productivity, as I see it, is about knowing who you are, how you think and process information, what your best skills and strengths are, what you fear, and how you resist. From there, it’s a matter of working with this unique constellation to cultivate the systems, strategies and attitudes what will serve you best in accomplishing what matters most to you in your writing life.
What is the most common productivity problem you see in freelance magazine writers?
I think the most universal challenge for every writer–and every person, for that matter–is fear. Fear shows up in the many disguises of: procrastination, perfectionism, and everything a writer doesn’t attempt (or repeat) for fear that s/he is not yet expert or knowledgeable enough to try.
The fact of the matter is this: While you’re busy obsessing about not knowing enough about a particular topic or market (and therefore not taking the appropriate steps toward developing your expertise, understanding your marke
I’ve co-authored and ghostwritten several books, including two Idiot’s Guides, one Dummies book, and two Chicken Soup for the Soul books, so I was excited to see that my friend Kelly James-Enger just published Goodbye Byline, Hello Big Bucks: The Writer’s Guide to Making Money Ghostwriting and Coauthoring Books. Kelly also teaches an e-course on ghostwriting, and blogs at Dollars and Deadlines. Ghostwriting can be a great gig, so I asked her what’s involved and how other writers can get started.
Can you tell us about your book?
Just as my book, Six-Figure Freelancing: The Writer’s Guide to Making More Money, was a guidebook for self-employed writers who wanted to work more efficiently, Goodbye Byline, Hello Big Bucks: The Writer’s Guide to Making Money Ghostwriting and Coauthoring Books is a roadmap for book authors and freelancers who want to add ghostwriter/coauthor to their writing resumes. It addresses everything from what types of clients to pursue, what qualities you must have a successful ghostwriter, and how to pitch potential clients as well as how to negotiate fees, work with clients, address common problems that arise during the process, and take advantage of the growing demand for talented ghostwriters.
What exactly is a ghostwriter? Is it always writing for a high-profile figure like a celebrity or politician?
To my mind, a ghostwriter is anyone who writes without a byline. Sure, some ghostwriters do high-profile books, but most work for “everyday” clients including subject matter experts who want to publish a book in their specialty and people who want to publish a book but lack writing skills or time to do so.
If you ghostwrite a book, do you need to sign an agreement that you won’t tell anyone who really wrote the book? If so, can you use the book as one of your publishing credits when applying for other projects?
It depends on the client. Some insist on confidentiality agreements and you may not be able to use it as a credit in the future; other clients recognize/acknowledge their ghosts (such as in the acknowledgments) and are fine with you using their work as samples.
Can you make good money ghostwriting? How do the deals usually work out? For example, do you get a flat fee, or a portion of the advance and royalties, etc.?
Yes, you can make good money—otherwise I wouldn’t be doing it! Seriously, again, it depends on the client. Many want to pay a flat fee while others will agree to a percentage of the advance/royalties. However, if your client is working with a traditional publisher (as opposed to doing print-on-demand or self-publishing), you want to make sure you’re protected if a book fails to sell or garner the advance you’re hoping for. I’ve had clients that paid half the advance/royalties for a deal that was already in place, clients that have paid a flat fee for all rights, and clients that have paid an hourly rate.
What kind of experience do you need to become a ghostwriter?
If you’re going to be ghosting books, you really need to have a book or two under your belt. (Keep in mind, though, that ghosts also write speeches, articles, blog posts—you name it.) It also helps to have experience in the subject matter you’re writing about. This is where experience as a freelancer writing about certain topics—say, business or health—can help you nab ghosting gigs as well.
What are the pros and cons of ghostwriting ver
Michelle Goodman is the author of The Anti 9-to-5 Guide: Practical Career Advice for Women Who Think Outside the Cube
(Seal Press, 2006). We talked with her about how to escape the cube and find success as a freelancer. [lf]
In your book, you focused on women who want to pursue their dream careers. Why did you target women? What are the differences between the way men and women go after their freelance dreams in particular?
Men certainly seek out flexible, autonomous work, too, but the stats say women do it more. We start businesses at twice the rate of men, and we fill a majority of the part-time and flextime jobs out there. For women, creating a self-styled career is a great way around the wage gap, mommy track, glass ceiling, and rigid workplaces that aren’t family- or life-outside-the-office friendly.
When it comes to chasing our freelance dreams, women generally have an easier time letting go of the whole 9-to-5, breadwinning thing than men do. But we have a harder time tooting our own horns and talking money—two essentials for freelancers. We worry about bragging and sounding crass, probably because some numbskull told us early on that such topics were taboo. Hopefully sites and books like ours can help the marketing- and money-squeamish get over it.
What stops people (especially women) from going after their dream gigs, whether that’s starting a freelancing career or targeting a national magazine?
Fear of failure. Fear of success. Fear that they’ll wind up living in a cardboard box under the freeway. Outmoded ideas of what A Respectable Career is. The misperception that changing gears mid-career means all previous training and experience was for naught.
Perfectionism is another biggie for women. We’ll sit on a book proposal (been there), business plan (there too), or Big-Time Magazine Pitch (yep) for months on end because it’s just not Pulitzer quality yet. Forget about the dang Pulitzer. Do your homework, write and edit the thing, then show it to a trusted colleague or two. If they say you’ve done good, take a deep breath and hit Send.
Why is it important to pursue your dream career? If the money’s good, why not stay in the cube?
If it ain’t broke, I wouldn’t fix it. If you like your job, your boss, and your salary, more power to you—why change? But survey after survey comes out each year saying that one in two people hate their jobs, think their coworkers are a bunch of monkeys, and just show up each week to collect a paycheck. So obviously something’s not working.
When people get to the point where heartburn, depression, or migraines set in every Sunday around 5 p.m., the idea of that safe, steady paycheck loses its luster real fast. A crappy work situation can quickly take its toll on your mood, attitude, even your health. I wrote the book for anyone who can relate, whether they want to give working from home a whirl, start freelancing on the side, or explore a change in profession altogether.
What are the three most important qualities someone needs to have to find a career “outside the cube”?
I mentioned the ability to toot your own horn without having heart palpitations earlier. Being able to gently hawk your skills or wares week after week is key.
Flexibility and negotiation savvy are the other two biggies. As a contractor, freelancer, or entrepreneur, you have to roll with the changes and learn to anticipate them as best you can. Changes in deadlines, project parameters, and team members can seriously screw with your schedule and income. How well you deal with this—and how well you weed out problem clients—will greatly affect your sanity and livelihood.
This is where negotiation savvy comes in. If you’re not up to speed on delicately haggling over deadlines, rates, and contracts, get there. Read a book, take a class, and brainstorm with other freelancers. Some resources I love (besides The Renegade Writer Empire):
Many freelance writers become sick of taking whatever assignments editors throw at them just for the money, and want to start writing about topics they care about or that can help others. Do you have any tips for transitioning from “have to write it” to “love to write it” — without going broke?
I hear people say over and over that they want to pitch new topics to their editors or break into new markets but haven’t made the time. I’ve certainly been there too; it’s so easy to get stuck in the steady-money rut.
I find designating a morning a week for a pitch session works well. Yes, this will mean shaving several billable hours off your schedule, but you will need that time free if you land a new assignment anyway. And if you can’t bear to part with a few billable hours to market yourself more, then give up a Saturday morning or an evening every couple of weeks until you’ve landed some bigger and better assignments.
Building pitch sessions into your weekly or monthly schedule is the best long-term strategy. That way you’re constantly reaching for bigger and better assignments, rather than just taking whatever comes your way.
What if you’re not sure what your dream gig is? Can you tell our readers how to figure out what it is you want so that you can formulate a plan to go for it?
Ask yourself what skills you want to learn, what friend’s career you’ve always been jealous of, what you were doing when you felt like you were at the top of your game in life, what you would do if time or money weren’t factors. Daydream and make lists.
Then do your homework and look at the finances of making such a career change, but don’t just rely on books and the web. Talk to people doing the tasks and working in the industries that have piqued your curiosity. Ask to observe them at work for a day (a.k.a. shadowing). Get hands-on experience through classes or volunteer work to see if anything on your list could sustain your interest for 20, 30, or 40 hours a week.
Do you have any tips for negotiating higher rates from magazine editors?
If an editor’s standard rate is much lower than my usual rate but I really want the clip (because I love their publication or I’m pursuing a new niche), I will say, “I normally work for $xx/word—any way you can come up in price a bit?” If they can’t, I probably won’t write for them for long, or I may decide the gig isn’t worth my time. After all, one of the best ways to raise your rates is to stop writing for publications that pay peanuts.
If an editor I’ve worked with at least a year is among my lowest-paying clients, I will say, “I love working with you, I love the assignments, and I love your publication, but I have to put on my business hat here. All my other assignments are paying me xx percent more. Do you think you can sweeten the pot?” Subtext: If you can’t come up in price, my eye’s eventually going to wander toward more lucrative publications.
Is there anything else you’d like to add?
I’m all about transitioning, keeping your day job and maybe reducing your hours while you dabble in a new career or build up your freelance business on the side. That way you don’t have to sweat the bills while trying make a go as a solo artist. Doing it on the side means you get to do it sooner, rather than spending a couple years saving up for it. And if your side project doesn’t pan out or you decide you hate the work, you still get to keep that blessed steady paycheck.
Reese Spykerman is the owner of Design by Reese and the web design wonder behind my website, my husband’s site FunandBoardgames.com, and many others. Since I get so many questions from writers about websites, I thought I’d ask Reese for her pro tips. [lf]
Why is it important for a writer to have a website?
Let’s be honest: these days, your name is going to be “googled”, whether it be by a friend, college alumni, employer or editor. As a writer, you need a website so that when an editor or publisher does a search on you, you have some control over the type of information they find. Isn’t it better for the information to come from you than another source?
What’s the best way to present clips?
If you have the reproduction rights to do so, I would recommend a combination of both PDFs of the piece in print (if it’s a print article) and actual html text. The PDFs appeal to editors and other potential clients who may place more weight or credibility on this type of format. Putting some of your work as actual text on the site, though, allows you to maximize search engine rankings if you publish them in combination with semantic code (more on this in a second) wrapped around the article titles, subheadlines, key pull quotes, etc.
One caveat: if you link to outside urls for your articles, beware that those links may one day change or go dead. I think it’s good for a writer to try and secure the rights to reprint as many articles directly on their website as possible. This gives you more control and builds a great archive of your work.
Do you have any tips on how to look like a real pro — when you’re really just sitting at home in your jammies?
Hey, more power to you if you work in your PJs–I do!
The good news is, the rise of the entrepreneurial class means that more of us are going to be working at home and/or on our own terms. Just read “Free Agent Nation” for more info. But, this change in the economic and employment makeup of the Western world doesn’t mean you can give up professionalism. First impressions count. Your marketing materials, including a website, help convey professionalism just as much as the eloquent words that you write. The key is to understand that although many successful websites and marketing pieces (business cards, logos, letterhead, etc) reflect, in some way, the person’s style, the design and look needs to be credible for you to look professional. This means that if you’re doing your website yourself, keep it simple. The fewer flourishes, the better. (No animated, cartwheeling smiley faces). Whether you do a site yourself or hire a designer, ask yourself what the goal of your website or marketing piece is. What do you want to communicate? Who will see your site or your pieces? What one thing do you want them to know about you–immediately–when they see the site or pieces? This information helps lead to marketing efforts that look professional and help your writing business grow.
How can you bump up your search engine ranking so editors and clients can find you on the web?
I can’t stress enough the power of a semantically coded website. Say what? Semantically coded websites are meaningful to search engines. Not every web designer, nor every automated design program (if you’re doing it yourself) knows how to utilize this style of coding in an effective manner. Even if your budget doesn’t allow you to currently get an entire site redesign done, it can pay in dividends to hire a designer who specializes in semantic code to go through your existing site and code and revise it with some semantic code.
However, this needs to be combined with careful thought into what sort of search terms (keywords) you want to see an improved ranking on. Then, these can be combined with semantic code to help boost your rankings for those terms.
Finally, a frequently updated website is going to, over time, perform better in search engines than one that stays static for two years. Consider keeping your content fresh. Add a blog to your site–blogs can do wonders for rank when used appropriately.
How about content — what should writers put on their website?
Most writers have some sort of niche–capitalizing on this can lead to a ‘theme’ for your site’s content. For example, one of my clients specializes in writing for Equestrian publications and books. However, she also wanted to attract editors in other genres. We showcased a lot of her Equestrian-related work on her site, while also stressing she can write on other topics, too. We capitalized on her expertise while allowing her to expand in other markets. So focusing on your strengths is an important start.
Specifically, clips of your work, even partial clips, can improve your image and help with search engine rankings, too. Editors and publishers want to see what you can do, and showcasing your writing samples on your site is the quickest and easiest way to help them.
Contact information is important, too. If you have any professional affiliations that are worth noting, it’s good to put these on your site, too, as you never know when someone may be searching for a writer who is a member of a specific group. If you graduated from a university, list that–I’ve personally gotten inquiries from people who looked for web designers who were alumni of the University of Missouri-Columbia. Think of all the ways people may search for you or want to reach you, and find meaningful ways to include that in the content of your site.
Do you recommend that writers have their photos on their websites, and if so, do they need to be professional photographs?
This is somewhat of a gray issue. For some professions (e.g. life coaches) photos are almost a must–they help create and build trustworthy client relationships. Writers may not have the same sort of promotional needs–many magazine editors, for example, may simply want to know if you can meet deadlines and write compelling prose. However, if you’re the author of a book, a photo may indeed serve a promotional need and help better connect you with either a publisher or audience of readers. In this situation, I’d really recommend getting professional photos done. You don’t need to spend thousands on this, but a photographer can adjust lighting and setting to help you look more composed and professional.
Do you have any tips on working with a web designer? How do you find a good one, and how do you tell her what you want?
I think for many professionals, finding a web designer can be a daunting prospect–all the technological know-how that goes behind making a website is not knowledge that most people have. This is compounded by the fact that there are many different types of web designers, and, unfortunately, many people who purport to be designers but are not skilled in creating a professional site that helps you grow your exposure.
With that said, one of the biggest things you want to look at when checking out designers is their portfolio of work. First, do they have a particular style that seems a good fit for your personal style? More importantly, does their portfolio of work look professional and engaging? On a more specific level, have they designed and developed successful websites for other writers? When you find a web designer who fits this bill, you can make both of your lives easier by providing as much information about your needs as possible.
You might mention your goals for your website, what kind of writing you currently do, and how you’d like to expand (if applicable). If you currently have a website, describe what isn’t working for you, and what your vision and hope is for the next rendition. If you’d like to be able to maintain a significant portion of your site yourself without needing to know HTML (and thus save yourself long-term maintenance fees) tell her that, and see if she can accommodate this. Your site’s design and impact will be most successful if you concentrate on describing yourself, your writing, your goals, and your business to the designer, with your preferences on style secondary to this. A good designer will decipher what you do and what you like stylistically and create a site that makes you look better professionally and helps you attract more business. Be prepared to tell her how many pages you think you will need, what sort of content you envision on those pages, and what the #1 or #2 most important things are to you. This focus helps your designer do her job better, and in turn, you’re far more likely to be thrilled with the results!
What are the most common mistakes writers make on their websites?
Many writers don’t edit their content enough and fall victim to “more is better.” Concise and pithy content is king. Be ruthless with the proverbial red pen on yourself. Tell a story about who you are, and what you do, but do it a compelling and succinct manner. A writer who writes 3,000-word investigative pieces for Atlantic Monthly may need help writing what is, essentially, a public relations piece. It may be beneficial to hire the services of another writer to pare down your content–this will keep your site visitors interested and begging for more.
What are your three most important website tips?
1. The web makes the world smaller, and it makes it move more quickly. A dynamic (frequently changing with relevant content) website can do far more for your growth than a static one can.
2. Even a one-page website, with links to external URLs of your clips, is better than no website at all.
3. A copy of Dreamweaver alone does not a professional website make. If you really want to appear professional, you will accomplish this best by hiring a professional who is skilled not only in design but in maximizing your search engine ranking and consulting with you on your business goals and growth.
Julie Knudson is a freelance writer who knows the meaning of persistence: She e-mailed over 300 trade magazine editors and landed more than a dozen regular clients and received over 80 requests for clips. I talked with Julie about how and why she did it, plus how to succeed with trade magazines.
Another excellent interview chock full of helpful insights!
this gal rocks. what an awesome topic for a book and so glad you covered it!!
Aw, thanks everyone. And thanks, Linda and Diana, for asking me to do this Q&A. It was a blast! And if anyone’s in Seattle this week, I’ll be at University Books (on the Ave) at 7 pm this Thursday, talking about all things anti 9-to-5 and reading a bit from the book.
Oh thank you! What a great interview. I’m definitely looking for Michelle’s book.
I’ve been struggling with the question of whether to work for peanuts to get clips and at least a little money, or turning down little assignments in order to make time to drum up more ambitious work. I like the idea of targeting one morning just for pitching, but I’m too slow (or too much of a perfectionist). A pitch takes me 2 or 3 days to prepare, minimum. Anybody have any tips on streamlining my pitching process?
Hi Darlene,
Could it be you’re over-researching or over-writing your pitches? It of course depends on the market and your relationship with the editor, but 2-3 days for every pitch does seem a bit long (to me). If you’re proposing a 1000-word article, for example, I would think you could do a couple hours of research (has the publication run it before, what are the industry trends, who are some experts you could tap?) and then craft the email/letter for a couple hours and be done with it. Of course without knowing what you’re working on, these are very general numbers.
Also, if you cultivate a particular niche or specialty, you’ll constantly be tapped into the latest industry/topic trends, not to mention who some hot sources might be.
Hope that helps,
Michelle
Thank you Michelle. You’ve got it, I’m over-researching and over-writing.
I’ll take your tips and see how I do. My new goal: pitch in one day!
Good luck, Darlene. You can do it!