PoeWar » Freelance Writing

Examining the Current Writing Job Market (Part Two)

John Hewitt — Tue, 04 May 2010 20:26:10 +0000

Finding a job is like playing bingo. It helps when the numbers are in your favor. Photo courtesy or my wife, Jennifer Hewitt.

In my last post I discussed some of the job titles on my site and the variations between the number of jobs I can find to post and the amount of traffic a particular job category gets. I want to continue along this line with a few more job titles.

Freelance Writing

Freelance writing jobs are, of course, a very popular job category. Like Write from Home, it is a broad category that can include many different job titles. I post everything from copywriting, editing, proofreading and blogging to reporting and web content. If a job says it is freelance, I add it to the freelance category along with any other specific category it belongs in. A freelance web editor position, for example, would be added to the freelance writing jobs category, the editing category and the web content category. Because so many of the people who come to my site are looking for freelance positions, I search hard for those positions. Like the Write from Home category though, I have so sift through a lot of positions that don’t seem legitimate. I do my best to bring only freelance positions that I think will be valuable to job seekers. That is why it can be a hard category to fill sometimes.

Copywriting

The copywriting jobs category is one in which I think there is a good balance of job seekers to positions. The category places sixth in popularity on my job site, and fourth if you leave out Write from Home and Freelance. It is a more popular category than technical writing or web content. There are about 900 currently advertised positions in my job aggregator, which is much higher than the more popular categories of proofreading and blogging. Copywriter positions, of course, require a specialized skill, which makes it harder to enter the field. I find it interesting though, that it is a more popular category than technical writing, which also requires a special skill set but has over 3000 listed jobs. Perhaps copywriting is seen as more glamorous or interesting, and that may well be a correct assumption.

Social Media

Social Media jobs are a relatively new job category on my site. The job title itself is only a few years old is just now getting widespread use. Interestingly though, there are about 900 current listings on the aggregator, which means there are as many positions as in copywriting, at least at first glance. The downside of the position is that you find a great deal of “intern” positions that offer little or no pay. There are also some positions that don’t really fall into the realm of writing. Still, I see this as an upcoming field that will keep growing for the time being.

Reporting

I have to be honest. I’m just about ready to drop the reporting jobs category from the site. The reason is simple. There aren’t very many positions and there aren’t very many people looking for jobs in that area, at least on my site. I think this has to do with the general downturn in newspapers and magazines. It just isn’t a field that looks attractive right now.

Note: When I discuss the number of listings for a position, I am referring to the number of listings I find on the job aggregator, Indeed.com. I am not referring to the number of listings on my site. I sift through the positions I find (on Indeed.com and elsewhere) and try to list the best opportunities.

Freelance Writing and Organization

John Hewitt — Wed, 20 Jan 2010 20:25:44 +0000

One of the keys to developing a successful freelance career is getting and staying organized. Freelance writing has chaotic moments. Assignments come in bunches. Clients change their minds. Checks arrive late. Your personal life clashes with your professional life. These things happen. Some chaos is to be expected, but the better you manage and organize your professional (and even personal) life, the better you’ll be able to deal with chaos when it comes and get back on track when it is over.

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

Freelance Writing and Nonpaying Markets

John Hewitt — Sun, 04 Oct 2009 17:11:41 +0000

By Madonna Dries Christensen

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.

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.
Writing for hometown publications that pay little or nothing establishes your name in the writing community and may lead to paying assignments.
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.
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.