Despite the situation, freelancing was still my choice. I could have devoted all of my time to finding another regular job. I could have taken a lesser job, or at least tried to find one. I could have just sat on the couch and watched TV, waiting for circumstances to change. That last one may not seem like much of an option, but I have seen plenty of people give it a try.

Here are some questions you should ask yourself before jumping into full-time freelancing:

Are you dissatisfied with what you are doing now?

Most people contemplate freelance writing because they are dissatisfied with their current situation. They don’t like their job or they don’t like how little time their job leaves for them to write. They think they are meant for better things and freelance writing comes to mind.

Dissatisfaction is a reason to try freelance writing, but it is not a good indicator of success. Dissatisfaction with a regular job is common and freelance writing is no picnic, especially for a poorly motivated worker. Often times, when a person thinks time is the reason they aren’t writing, it turns out that they weren’t really going to write no matter how much time they had. There is a difference between a pleasant sounding alternative and reality. Dissatisfaction is a start though.

Have you tried freelance writing part-time?

Jumping from a 40-hour-a-week job to full-time freelance writing is not one smooth step. If you aren’t actively freelancing while employed, you are going to have a hard time transitioning to full-time freelancing. There is a learning curve to any job, and starting freelancing from square one without an income is difficult. You will want some ongoing clients or at minimum some experience with freelance writing before you try to make the jump to full-time. Prove to yourself that the career is important enough for you to sacrifice some time in the present before you decide to make it a profession in the future.

Have you saved up money?

It is important to have money set aside when you start freelancing full-time. Starting with enough money in savings to pay all of your bills for six months is a good start. Having a year or two years worth of money is an even better start. A good way to start saving for a full-time freelance career is to put all of your part-time freelancing money into a savings account, living only off your regular income until you are ready to make the leap.

Have you done your research?

There are several things you need to know when you strike out to be a full-time freelancer. The first is what your income requirements are. What will it take to pay your bills? Figure out just how many clients you are going to have to land and what you will have to charge if you want to be self-sufficient. Remember as well that you will have to find a way to take care of things such as medical and dental expenses, as well as other bills that only crop up sporadically but are bound to show up eventually. Office equipment needs replacing and upgrading. Cars need fixing. Houses need repairs. Christmas comes along once a year. Be realistic about what you are going to spend.

Once you know what you need, you have to figure out how you are going to meet that number. This means that you decide what areas you want to focus on (writing type, client type, locale) and have a marketing plan in place for reaching the people you want as clients. In fact, you will want to do more than research those markets, you will want to already be approaching your potential clients before you quit your job. Don’t leave it all until the day you finally stop working your regular job.

Do you have self discipline?

The final piece in the puzzle is to think long and hard about whether or not you have the discipline for self employment. Life without a boss sounds great, but it means that you have to be the one to push yourself to achieve. You not only have to be able to complete the assignments that come your way, you have to work hard when you don’t have any assignments. You have to market yourself and land new jobs. You have to make yourself sit in the office and work when it is a beautiful day and no one would complain if you put everything off until tomorrow.

A full-time freelance writing career is not for everyone, but for the people who can handle it, freelancing can be a great way to make a living. If you feel confident about your answers to these questions, they you are probably ready to make the leap to full-time freelancing.

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How do you want to spend your energy?

There is only so much time in the day, and that means you have to be careful about the jobs you take. You don’t want a job that is going to make it impossible for you to write outside of work. That is why some people take jobs far from the writing field. Some jobs only require presence and a little attention. Working as a security guard, for example, allows you to spend most of your time standing around watching people. For some writers, this is a great opportunity to observe, and get paid to do it. It isn’t difficult work, and it won’t leave you intellectually drained at the end of the day.

Working as a technical writer or as an editor gives you a chance to improve your writing skills as you earn a paycheck (and a bigger paycheck than a security guard). The downside is that you may use up all of your intellectual energy reading documents and attending meetings. A construction job is an example of a third option, one that works your body more than your mind, and gets you out into the daylight instead of stranding you in an office building. It is up to you to decide what works best for you, but if at the end of the day you don’t feel like writing, that’s a clue that you made the wrong choice.

Part-time solutions

Part-time work is yet another option. You draw a somewhat smaller paycheck, but you get back more of your time. Working two days a week at a store in the mall probably won’t pay all of your bills, but it may be enough to get you by in the weeks between freelance payments. It will also remind you of why you want to work hard as a freelancer, so that you don’t have to hold a job like that anymore.

Temporary solutions

Another option beyond part-time work is temporary work. You work full-time or even overtime hours for several months, banking your paychecks so that you can then have money in reserve to support your time freelancing for the next few months. The benefit of this, beyond the money, is the additional motivation to do well. You won’t have to get a regular job again until you run out of money. That gives you extra incentive to work hard and get paid as a freelance writer so that you don’t have to go back to a regular job. The danger is that you won’t know when to quit. Months can quickly turn into years, especially if you don’t save your money well.

The important thing to remember is that you do have choices as a freelance writer. When the freelance market gets slow, a job will provide you with another source of income and security. Just remember that your primary goal is to make a living from your freelance writing.

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You sell a product

If you are a writer, then your writing is your product. You have to sell that product if you want to make a living. This means that you need to learn about sales. Take a class in marketing or at least get yourself a basic book on sales. Whatever your end product is, from articles to poems to short stories, you can only make a living if you make sales.

You are a product

Beyond your writing, you have to sell another product. That product is you. Whether you are trying to land an assignment, a contract, or a job, you need to sell people on the concept of you. They have to believe that you are the right person for the job. They have to believe that you will not let them down. They even need to like you. You have to make people want to do business with you.

You have to do things you don’t love

With any luck, you got into writing because you love to write. If you didn’t, you should seriously find another profession, because there are plenty of better paying and less stressful careers out there. If you do love to write though, you also need to learn how to do things such as desktop publishing, bookkeeping, taxes, promotion, research, attending meetings, networking, project planning and customer service. They are all part of the business and you ignore them at your own peril.

You need to manage yourself

You have faults, I know I do, and some of these are going to get in your way as a writer. You may be shy, awkward, lazy, scatterbrained, argumentative, easily distracted, bad at math, prone to depression, a perfectionist, etc. You need to be honest about whatever your deficits are and find ways to keep them from damaging your writing career. Whether you need to get a friend or hire an assistant to keep you on task, or hire an accounting service to keep track of your money, you need to be sure that the important things are being taken care of, either by you or by someone you trust. You need to keep yourself working.

You need money

You can’t make a living without an income. That means you may need to write about subjects because they will make you money, or take on additional non-writing work to keep you afloat. This is the reality of having a writing career. You don’t always get to do exactly what you want. You need to think in terms of how much money you need, and how you are going to get it. Sometimes that means taking on assignments you don’t love. Sometimes it means simplifying your life and giving up luxuries or even some basics so that you need less money. Whatever the case, your income matters and you have to find a way to live on the money you make or make more money.

Think like a businessperson

You are free to write like an artist, but you have to think like a businessperson at times. It is a good idea to take business classes, organization classes, and marketing classes. Once you know something about business, it will be easier for you to think of new projects in terms of how you can make them work for your career so that you can keep writing.

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Your life and your career start to meld

As a freelance writer, there is no moment when you are suddenly at work or off work, especially if you work out of your home. There is nobody to tell you when you are done working for the day, and if you sleep in and miss a couple of hours in the morning, there is no one standing over you telling you to get to work or to keep working into the evening to make up for it. This leads to a perpetual feeling that you really should be doing something other than what you are actually doing, whether you are working or relaxing.

Your are responsible for your own goals

In a job you may have been able to blame your boss or the company for your lack of career advancement or your low pay. As a freelance writer, your career is entirely your responsibility. You make the decisions and you live with the consequences. Instead of negotiating with one boss, you have to negotiate with multiple clients and each one may have their quirks or issues. Some may even be hoping to rip you off. That is the reality of the business. It isn’t as safe as a regular paycheck and it isn’t for people who are afraid to make decisions.

You create your own network

As a freelance writer, you don’t get to meet coworkers in the lunch room or gossip over cubicle walls. If you want allies and friends, you have to forge the connections and keep them active. It can be lonely sitting in a home office all day with only the cat for company. A feeling of isolation is common. Social tools such as Facebook and Twitter can help you feel connected, but there is no replacement for face-to-face contact.

Life becomes deductible

As a writer, you have to manage your own taxes. That means paying the government out of your own account once a quarter to cover both income tax and social security (in the USA). It also means that anything in your life that legitimately helps you write becomes a deductible expense. Some of the typical deductible expenses are books, classes, Internet access, phone, office supplies, business cards, and computer equipment. Depending on what you write about though, other things become deductible. Someone who writes about exercise might deduct their shoes and gym membership. Someone who writes about travel might deduct their vacation expenses. This is why it is important to track all of your expenses and make sure you can justify any deduction you take. It may be smart to consult a tax accountant.

Your income relies on your output

If you get nothing done all day at a regular job, you still get a paycheck. Some people manage to survive in corporate America for years without accomplishing anything. As a freelance writer you don’t have that luxury. If you don’t do the work to land new clients and produce new writing, you don’t make money. Everyone has an off day once in a while, but if your off days start to stack up it can seriously endanger your financial stability. This is especially hard for freelance writers because people respect your time less than they do if you work a regular job. The friend or relative who would never call you at work won’t hesitate to call you at home. If you give in to these distractions, you have no one to blame but yourself. You are your boss.

Think about these realities before you jump into a freelance writing career. Full-time freelance writing is not for everyone.

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There are four key areas that need management and organization if you want your freelance writing career to run smoothly. Those areas are task management, time management, workspace management and money management. Here are the basics that you need to keep in mind with each of these areas.

Task management

Task management is essential to gaining control over your professional life. You need to keep a running list of all the tasks that you need to accomplish. This can be daunting, but it is necessary. Beyond just listing the things that need to be done, good task management means taking the time to think through and write down the steps you need to take to successfully complete each task. Another key to good task management is deciding what has priority and what you can handle. It is ok to list some tasks as “nice to have” or “when life gets less crazy”. Setting priorities is important. It is also good to realize what you can handle. When the mind is fresh and you have tons of energy, the most creative and difficult tasks should be worked on. When you are low on creativity or energy, it may be time to look at the simpler tasks that can be accomplished with minimal mental or physical effort.

Time management

Between time management and task management, I put a priority on task management. As a freelancer though, you cannot afford to ignore time management. Clients often set deadlines, and those deadlines must be met. In order to do this properly, you need to keep careful track of when items need to be turned in and set milestones for getting those assignments finished on time. This can be as simple as keeping a whiteboard list of milestones and deadlines. It is also a great way to make use of calendars, both physical and electronic.

Workspace management

Workspace management is quite simply the creation of a workspace that enhances your productivity. This can mean different things for different people depending on how they work. Some people keep all of their files on paper. Oother people prefer to keep everything in the computer. Most people strike a balance somewhere in between. The key to workspace management though, is to make sure that the things you need the most are available and easy to find. This means assigning spaces for specific items and tasks. It also means taking a little time each day to make sure everything is where it should be. If you make this a habit, it shouldn’t take more than a few minutes at the beginning or end of the day.

Money management

Money management is especially complicated and especially crucial for freelance writers. Because you cannot count on a steady paycheck, and must instead rely on clients to pay you according to the terms that you work out. Keeping an emergency fund is the key to staying afloat. Many freelance writers pay their bills in advance. When a big check comes, the first thing I generally do is pay the mortgage, car payment, electric bill, and Internet provider for as many months ahead as I can. It makes it easier to keep working when I know that the four things I need the most are covered. Other people set aside the money and leave themselves flexibility for what they need to pay. That is great if you can trust yourself not to spend the money on anything foolish. Use the system that works for you, but take the time to get your finances in order.

For Further Reading

• Getting Things Done: The Art of Stress-Free Productivity
• 27 Great Tips to Keep Your Life Organized
• 9 Things Freelancers Should Do Before the End of the Year

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Pirates like to have things stored away for a rainy day. They bury their treasure under two trees that form an X. They keep weapons and a rowboat in a cave. They have secret compartments in their ship in case they get boarded. Pirates like to have something stashed aside for when disaster hits.

What do freelance writers stash? Freelance writers stash the things that will be useful to them: money, articles. ideas and clients.

Stash your money

Freelance writing is an up and down field. One week your are flush with cash and the next week the check you expected from your biggest client doesn’t arrive or bounces. Always have some money put away for emergencies. Be very careful about what you define as an emergency too. Your emergency stash shouldn’t be used for every little bump that comes along, or you will soon find yourself without an emergency stash. Put the money where you can get to it, but don’t use it unless you are facing a serious money problem. If you do use it, your next task should be replenishing it. You don’t want the treasure chest to be empty when an emergency hits.

Stash your articles

Keep all of your old articles, research and other work. One of the advantages freelance writers have over many other freelance professions is that they can resell, rewrite and repurpose old articles and research. A good writer can turn research about health clubs into club profiles, fitness tips and buyer’s guides. They can take those same articles and resell them in different markets. They can also rewrite them later to incorporate new information or use them as research for new articles

Stash your ideas

Keep a notebook, a PDA, a tape recorder or whatever it takes, but find a way to record your ideas when they happen and save them for later. Record article ideas, productivity ideas, marketing ideas and whatever other thoughts you have that may contribute to your freelance success. You may never use 90% of what you recorded, but it’s worth it for that one really great idea that you would have forgotten if you hadn’t recorded it.

Stash your clients

Keep track of your old clients, especially the good ones. Send them post cards and holiday greetings. Call them on the phone or send them an email every few months. You don’t want to be a pest, but you want to stay in their thoughts so that the next time they have a project, you are the first person they think of. Sometimes you will even manage to catch them at just the right time, and your effort to keep in touch will land you an immediate sale. Isn’t it worth the price of a few postcards to have that happen?

For More Information

• How and Why to Start an Emergency Fund
• How to save for an emergency fund
• Save Your Emergency Fund For The Real Thing
• The Idea Farm
• Create An Idea Journal
• 10 Ways to Re-purpose Your Content
• 17 Secrets of Keeping Your Clients and Yourself Happy
• Keep A Client

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Joe polished the stained glass window he’d created and installed, then stood back to admire it. “Stunning,” Jane said. “What do I owe you?”

“Oh, there’s no charge,” Joe said, carefully packing his tools. “I love making stained glass. I never ask for payment.”

Obviously this scenario is fiction, but substitute a writer for Joe and it’s believable. Like stained glass artists, writers use professional tools. They love their job. They polish their writing until it shines. They take pride in a job well-done. Then, all too often, they give away their product to a nonpaying publication.

Paying Markets

To be or not to be—paid—that is the question faced by writers. They fall into three groups on the issue. For the first group, those making a living with freelance writing, there is no question; they must work for paying markets.

The second group, serious writers, too, do not depend on writing for their livelihood, yet many of them will not submit to pays-in-copies markets. They say, “Publishers seem to think writers are simply interested in seeing their byline, that money isn’t important. But there’s a principle involved. Name another field where people are expected to work for no pay.”

Group three is comprised of those for whom writing is a hobby, and they are generally nonchalant about monetary matters. Payment is nice, but they’re satisfied with a few copies of a magazine to give family members.

One can spin an argument either way, for the writers or for the publishers. It’s true that most small publishers are on tight budgets and can pay only in copies. On the flip side, they would not have a publication without free material. But writers have expenses, too, so even a few pennies per word is appreciated.

Small Press Publishers

Small press publishers struggle with the payment issue. Quite likely they are not getting rich off free material, and I believe most of them would like to be in a position to pay writers. Some are writers themselves and know the situation from both sides, so they make an effort to pay at least a small amount. Harvey Stanbrough, former publisher of The Roswell Literary Review, says he created the publication because, as a frustrated writer, he feels writers should be monetarily compensated. Ned Burke, former publisher of Writer’s Guidelines & News, and of Yesterday’s Magazette (for 25 years), says, “For a small press, with virtually no capital, twenty-five years is a long time. Subscriptions do not cover costs. I’ve had to dig into my own pocket.”

Felix Fellhauer, publisher of The Funny Paper, says, “The Funny Paper has given a number of new authors, poets and humorists their first paycheck. You may not become rich from these small markets, but if you can make your overhead with a steady flow of modest checks, you’ll be better able to concentrate on the big project (novel, screenplay).”

Jeanette Baldridge, former publisher of Out Of The Cradle, started out paying, then had to give it up (and, eventually, the magazine). Baldridge says, “When Sandy [Sandra K. Dennis] and I started Out Of The Cradle, we wanted to pay every contributor, no matter how small the amount. We wanted hard-working writers to feel their work has value. Paying contributors, however, almost equals printing costs, and the magazine price barely covers printing costs.” Baldridge says the average lifetime of a small journal is two years, unless it’s affiliated with a university.

Thema, a fiction and poetry journal, receives financial support from the Louisiana State Arts Council, but Editor Virginia Howard says Thema paid contributors even before aid came along. “When Thema was conceived, we debated about paying in copies or in money. We agreed that authors should receive at least one free copy of the journal, but it was my strong feeling we should also pay authors. To me, paying, even a token amount, shows a certain respect for the author’s work; it validates writing as a serious craft. So we paid from the start.”

What about an editor who seems to think writers owe her? Donna Taylor Burgess, editor of The Blue Lady (pays copies), said in the May, 1997 issue of Scavenger’s Newsletter (pays money), “Writers need not come across as if they are doing editors a favor by submitting. I feel editors are the ones doing the favors by providing markets for those who very likely would not be published otherwise.”

Harvey Stanbrough took issue with Ms. Burgess by putting her statement to a test in The Roswell Literary Review. He wrote: “Would writers exist if there were no editors? Definitely. Writers write because they are driven to write; publication is a dream that remains, at all times, secondary to the irresistible urge to put pen to paper. Now for the other half of the test: Would editors exist if there were no writers? YEAH, RIGHT. Any questions, Ms. Burgess?”

Yes, many writers would probably write if there were no editors and no publications looking for material. But most writers do want to publish, so the two hands, the writer’s and the editor’s, must feed each other. Stanbrough concluded his argument by saying that mutual back scratching is necessary. “Editors and writers must treat each other with the respect each deserves. For either one to do any less is not acceptable and will be rewarded by the other (deservedly) with the coldest imaginable shoulder.”

Get Paid to Write

Peter Blocksom, at one time Senior Editor of Writer’s Digest, advised, “Don’t give anything away. If your writing has value to someone, they should pay for it.”

Troxey Kemper, editor of Tucumcari Literary Review (pays copies), disagrees with Blocksom, saying, “Writers should submit and publish whenever and wherever they can.” Kemper’s advice has merit, especially for novice writers.

1. Nonpaying markets are a beginning, stepping stones to establishing a track record. If you are trying to sell a book, you can list these publications in a cover letter, showing editors that you have publishing experience.
2. Writing for hometown publications that pay little or nothing establishes your name in the writing community and may lead to paying assignments.
3. Each time you submit you hone writing skills, learn to write effective cover letters and query letters. You gain insight on the ins and outs of publishing. You learn to follow guidelines and how to work with editors.
4. People are reading your work. They may recognize your name when it appears in one journal after another. Again, your name is becoming known in the writing field. Be sure you understand the terms of publication. Some publishers, although they pay only copies, make unfair demands on writers, such as wanting unpublished work, and all-rights.

Troxey Kemper says: “The only time editors should ask/demand unpublished nonsimultaneous work is when they pay enough to deserve it.”

That’s important advice. Avoid giving all-rights to nonpaying markets. In fact, unless you receive an offer made in Heaven, it’s not a good idea to sell all-rights to anyone. It’s your work and you should control it. Someone once suggested that the term “sell” is inaccurate, that what writers actually do is “rent” their work for one-time use.

Finding the right publication for your work can take as much time and skill as writing the piece. If you find several possible markets, with different payment rates, there’s no harm in starting with the highest and working your way down to the lower pay scale.

It’s always a good idea to read any periodical, large or small, before submitting. A paying market does not guarantee high quality, nor does one that pays-in-copies mean it’s not worth consideration. Many nonpaying publications are nicely produced, with a respectable national circulation and editors who are happy to work with new writers as well as established writers. Buy a copy, or beg, borrow or steal one. Many publications now have websites where you can get an idea of what they publish. If you aren’t online, use the library’s computer, or ask a friend to look up the website.

In Novel and Short Story Writer’s Market, a dozen or more pays-in-copies publications report having published work by Ken Kesey, Rita Dove, T. Coraghessan Boyle, Rick Bass, Henry Taylor, Gordon Lish, Joyce Carol Oates, Tobias Wolff, Frederick Barthleme, Susan Fromberg Shaeffer, Louise Erdrich,

Galway Kinnell, Fred Chappell, Carol Shields, and Robert Olen Butler. How’d you like to see your story and biographical data sandwiched between a couple of those names? Having your work appear in small literary journals or anthologies can be rewarding, even if no money exchanged hands.

Madonna Dries Christensen’s work has appeared in publications that pay money and/or copies. Early in her career a memoir magazine paid her with three jars of honey from its Country Store (about $10 worth). She doesn’t like honey but her family enjoyed it.

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• Eat Lunch Out — Don’t be afraid to go out every once in a while, especially for lunch meetings. Most friends and associates who have a nine-to-five job will be free for lunch, and your lack of a boss makes it easier to meet them on their schedule and still have time to eat. Don’t cry over the lost time of an hour and a half lunch. Instead, schedule your errands around lunch so that you can get your day’s trips out of the way. Just remember that you still need to spend the same amount of time writing and researching. Your advantage is flexible time, not more time.
• Join Professional Groups — There are many groups that cater to writers, and many that cater to just about any professional. Such groups as the Public Relations Society of America, The National Writer’s Union, and the Toastmasters are worth looking into. Look for groups that meet at least once a month. Don’t be afraid to bring business cards. This is all about making connections, on both a personal and professional level.
• Maintain Structure — The advantage of working at home is NOT working without a schedule, it’s being able to create your own schedule. Put what you plan to do that day down on paper and check it frequently. Develop a workable schedule. For some people it is just a list of the day’s activities, while others need a fixed hourly timetable. Find what works for you and stick to it.
• Consider a Part-Time Job — Even for people who can afford to just write, having a part-time job is worth considering. If isolation is your problem, then look for a job that will keep you in contact with many people. It is an especially good idea to find a job that will help you meet people with similar career goals, but it is also refreshing to have a job that has nothing to do with writing. It’s a judgment call for you to make. Just be sure that you don’t spend too many hours at your job, and that the job doesn’t drain you. Ten hours a week is a good amount– anything over twenty will become a distraction. If money isn’t a problem, consider volunteer work. It will make you feel good.
• Join a Health Club — Sitting in front of a computer eight to twelve hours a day isn’t exactly good for the body or mind. You need to balance your work with exercise, and joining a health club is a good way to both stay fit and be around other people. Schedule it as part of your routine. Exercising at the same time every day will not only add structure and regularity, but it will help you make friends because you’ll be seeing the same people every day.
• Make Friends On-Line — The wonderful thing about having e-mail, Facebook and Twitter friends is that you can take a break and write them whenever you are feeling lonely or isolated, and they can do the same. Also, if you make friends in the industry, you can often get feedback on your work. Just don’t spend all your time writing letters instead of working.
• Walk Outside – I often forget the outside world exists. Sometimes, just stretching your legs and breathing a little fresh air will keep you going when you need to get a project done.
• Don’t Forget That You Have a Radio / MP3 Player– Television is too much of a diversion while working, but silence can be just as problematic. Turn on the radio, preferably to a type of music that won’t be distracting for you. Some people like to turn to a news station, but I found myself listening to news rather than working so I stick to music now.
• Break The Routine – Schedules are important, but every once in a while you need to go out and do something that your nine-to-five friends don’t get to do: going to a matinee, hiking, visiting a museum, having a picnic or whatever suits you. Again, remember that you still need to spend the same amount of time writing. That means either starting earlier or working later.

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