How to Survive in Shark Infested Waters

Random thought: Is it so wrong that The Office is quite possibly the highlight of my week? Squee for the Diwali episode! I won't spoil it for those who haven't seen it, but needless to say, more drunk John Krasinski please!

Anyhoo, wrapping up the week of Q/As with some of my favorite freelance writers. I'll be answering your questions again starting next week, so if you have a question and want to pick my brain, email me at allison@allisonwinn.com or post it to the comments section. Today, my fellow writer friends were kind enough to offer their thoughts on how to survive the ups and downs of the freelance world and ultimately, turn a glimmer of a dream into a lifelong career.

Here, their thoughts:

-Be absolutely sure that freelance is what you really want to be. I have a good friend who, like me, was always a magazine editor, and also always freelance-wrote "on the side." When we each had kids, it was her decision to stay with a magazine job, and mine (well, after kid 2) to freelance fulltime. I could never do what she does; seems so stressful. She feels she couldn't do what I do; she relishes the office experience and doubts her ability to stick to work with all the distractions of home (TV, food, the kids, the house...). So you have to start with a foundation of REALLY knowing that working for yourself, and largely by yourself, is what you want, and that it fits with yours and your family's lifestyle and needs. I was freelance for a short time very early in my career, and it stunk. I couldn't focus or motivate myself, and I sunk into a depression (for other reasons, too, but I believe that I'd have been in a better frame of mind if I had an office to go to each day). Other things you need for a successful freelance career:

• Good time management skills (this, for me, is taken care of by being a mom; I'm so used to cramming 40 things into each hour of each day that prioritizing gets easier).- a good business sense. You love to write, which is fine and dandy. But you can't spend hours and days and weeks laboring over every word of every piece or you won't make any money. It's craft and a teeny bit of art, but it's mostly a business.
• The proper spot to work, whether that's a fully kitted-out office or an armoire in the dining room. If you're squeezing in your work on the kitchen table or around your kids' artwork and your husband's stuff, you won't feel as "legit."
• A very, very very thick skin, since rejection comes with the territory.
• A recognition that you have to find ways to work with the editors who are out there. Sure, you can cross off your list those who are egregiously awful or abusive, but the basic premise of the freelance life is that you want work, and editors are the ones who have it to hand out, so you gotta get along. That means lots of cheerful compliance and can-do attitude. That does not mean letting yourself be walked all over; you have to find and tread the line between the two. - Denise Schipani

-I have two rules for myself: be reliable, and be easy to work with. Before I went freelance, I was an editor, so I thought long and hard about the writers I really enjoyed working with. Above all, they all shared those two traits--reliability and a desire to work with me to put out the best article possible. They didn't flake out on deadlines, they didn't have egos, and they weren't offended if I came back to them with edit questions or needed a revise. Also, I knew that as an editor, being reliable and being nice--this is so Midwestern of me, but whatever--helped me move up quickly. So I took that with me when I crossed the fence and became a full-time writer, and it's helped me stand out and get repeat assignments for the publications I want to work with. I know some people hear that and they think, "doormat!" But it's not about being a doormat. I still ask for more money, say no to impossible assignments and tell editors when they're being unreasonable. I'm just not bitchy about it, and that makes all the difference in having an editor want to work with you again. - Camille Noe Pagan

-Treat it like a business. You need to deliver a high-quality service. You need to market yourself. You need to constantly look for new outlets for your work and new ways to improve what you’re doing. You need to deliver excellent service to your clients. You need to keep track of the financials. And you need to be tenacious. I always say that the rules apply to everyone but me. That doesn’t mean ignore guidelines, editor suggestions, or solid business practices. But, when I hear about how difficult it is to break into a particular publication or how competitive this business is or how it’s impossible to make a living as a freelance writer, that doesn’t apply to me. I ignore the statistics and focus on what I need and want to do. So far, so good. - Gwen Moran

-Figure out what you want to achieve and keep your eye on your prize, not another writer's. If you're a mother with young children and you want to earn enough to keep your young ones in Huggies, well screw the person who says success as a writer means bringing in $100K + a year or writing for the Atlantic. That's his definition, not yours. - Diana Burrell

-To establish a successful freelancing career, you have to treat it as a business. Learn to say "no" when your calendar gets overwhelmed with too many activities. You have to spend an ample amount of time at your desk to make it work. Sure, it's great to be able to take an impromptu trip out of town for a few days and not have to ask permission, but be prepared to check your e-mail and voicemail when you are away and pick up the slack when you return. Some people will try to take advantage of you working from home because they think that you have all the time in the world, but you do not. You have the advantage of no commute to work and you can plug away at the keyboard in your pajamas if you wish, but this doesn't mean that you're free to babysit or chat on the phone for hours on end. Also, networking is imperative! You can learn a lot by mingling with fellow freelancers. Get involved in writers' organizations, attend conferences, etc. to keep leads flowing. - Sharon Anne Waldrop

-Make sure that you have the right disposition to be a freelancer—because really, you are an entrepreneur. If you don’t have the drive to keep going every day, even when you’re not selling anything, and to keep yourself focused on marketing and coming up with new ideas, then you should find something else to do as your career. - Leah Ingram

-1) Read--everything from books on writing to the magazines and newspapers that you want to break into. Know that this often doesn't happen overnight, and be prepared to do the work you will need to in order to get your career going. 2) Go to writers' conferences. Join Web sites like FLX. Talk to other writers--but don't pick out a few who are experienced and keep badgering them. People will usually help you, but make sure you're not taking advantage. 3) Keep sending out queries. If one comes back "dinged," have another publication ready to send it to and get it out the door within 24 hours. 4) Don't take rejections personally. Remember, these people (editors) don't know you, so they are reacting to the work. And it doesn't mean that the work is bad; it's just something they can't use right now. Chances are, if it's a good query, you'll find a home for it. Send it out again and again and again... - Michele Wojciechowski

-Treat it as you would any other start-up. It takes time. This advice is easier given than followed on somedays! But truly it takes a lot of persistence and a lot of hard work and on the darkest days when you keep going.. that is what leads to success. - Monica Bhide

-I think part of it is saying to yourself, this is it. Failing is not an option. If you have in your head that if you fail, oh well, you can go back to your cubicle, you're already setting your expectations too low. With that goes treating freelancing like a real job with a real work-arrival hour. Another key to establishing a successful freelance career too, I think, is to seek out those regular gigs. For example, in the front of the book of Men's Health and Women's Health there are the "bulletins," summaries of the latest health research that are about 100 words each. Every month I write some nutrition and weight-loss bulletins, and while it's not the most fun work, it makes for a regular pay check. And then on top of that, of course, do those fun departments and features that you pitch. But those don't come monthly for everyone, so that regular paying gig is important. - Lauren Ann Russell

-Treat it like a business. Don't think of yourself as a "writer," think of yourself as an "independent contractor." A lot of things will flow from there. Also specialize in a few topics or develop something special you're known for. You have to be able to distinguish yourself and give editors a reason to think of you. This is key to getting called with assignments as opposed to having to query all the time. - Lisbeth Levine

Buddying Up to Editors

So now you've heard how to craft an awesome query letter, straight from the mouths of writers who are at the top of their game. The next step? Making yourself invaluable to your editor. (Check out yesterday's or Monday's post to see where these gals have been published.)

Today's question: how do I develop long-term relationships with my editors?

- I meet with them. I live in Boston and most of my editors are in NYC, so a few times each year, I schedule a trip to the city specifically to meet editors, even ones who've enthusiastically rejected my ideas but who are encouraging. It maybe costs me $500 for the train, hotels, food, etc., but the trips always generate assignments that more than cover my expenses. Meeting face-to-face with editors is, in geek speak, my Killer App. Over a cup of coffee or even just talking for a few minutes in their offices, you can pick up valuable information it would take months for you to discern through e-mail. It also shows editors you're serious about your business if you're coming in from out of town just to meet with them. You get to know them, they get to know you. You're no longer WtrChik@hotmail.com to them, but a serious professional writer with good ideas who they know. - Diana Burrell, co-author of the Renegade Writer and the Renegade Writer's Query Letters That Rock (Nov. 2006) and freelance writer for Parenting, Oxygen, Sam's Club Source, the Boston Globe, and lots of other magazines and newspapers you've never heard of. (Her words, not mine!) :)

-I develop long term relationships with editors by staying in touch to keep my name out there. For instance, when I read an exceptional article in the magazine, whether I have already secured an assignment from the editor or not, I will send a quick note expressing how much I enjoyed the story and explain why. Also, when an editor gives me an assignment, this is something that we are working on together, and together we will make it shine. Teamwork is important, and a writer-editor relationship is based on teamwork. - Sharon Anne Waldrop

- I started out and spent many years as an editor, so my answer is slightly different. Being on the inside for all those years means (a) I know a lot of people already; and (b) I often can "tell" what they want, so I have a quicker track to building and maintaining relationships. That said, once you have worked with an editor more than once, the best way to keep the fire burning is to basically follow good business practices. If they want a bit of something extra on a piece, be the writer who'll take care of it. If you run across something that might be of interest (a study, a store, a book, another article), pass it along. Respond promptly to calls and emails. Don't make excuses. Meet deadlines. Come up with titles and coverlines. Say "thank you" when an edit makes your work better. Lots of little things add up. - Denise Schipani

-Query often and well. Find common interests and share knowledge with them. Make them feel like they are your most prized client. - Amy Paturel, columnist for AOL and contributor to Health, Cooking Light and Women's Health

-Keep in touch: check in once every few months with new pitches. Never get snippy with he or she even if you're annoyed by their asking for four revises. The easiest way to get out of a relationship with an editor: never send ideas and have an attitude. - Lauren Ann Russell, contributor to Women's Health, Men's Health, Self, Fitness and YogaLife

- Deliver. I’m surprised at how many editors say that writers routinely miss deadlines, drop the ball on assignments, or are really difficult to work with. If I’m having trouble with an assignment or deadline, my editor is the first to know. If my editor needs something in particular, I bend over backwards to deliver. If I see a tidbit of information that might be useful to my editor, I pass it along, even if it has nothing to do with anything on which I’m working. Basically, I do whatever I can to make my editor’s job easier and, as a result, have built solid relationships. - Gwen Moran

-I stay in touch with my editors regularily and make sure I send them an email with info that may be of interest to them for either their magazine or personally (I know one editor who was getting married in DC so when I saw a new DC Wedding guide, I sent it to her and she was grateful.)

- Work with them, not against them. Turn in clean copy on time. Don't go too far over the word count. (My goal is no more than 10 percent over, and usually a little less than that.) - Sandra B. Hume

- I make it my goal to make their life easier for them. I've been an editor in my career, so perhaps that's easier for me. But I know if I can do some of their job for them, they'll keep calling me. The other part of this equation is making them look good to their editors. If they know you'll make them look good to their higher-ups, you'll be at the top of their list. - Chicago-based freelancer, Liz Levine

-By keeping in touch, being available when they call me for assignments—or if I’m not available, referring them to a professional colleague who can help them out—and turning my stories in early, if at all possible, and, at the very least, on time. And if I can’t make the deadline, calling to let them know it will be a few days late. This is a professional courtesy that too few writers remember.

Also, I understand that I won’t click with every editor I work with, and some editors—especially at quarterlies or custom publications—don’t make assignments all the time, or don’t like to have the same byline in issue after issue. These are the realities of freelancing. Also, make yourself known to a certain editor as a writer of (fill in the blank). You can’t be everything to every editor, so if editor A at magazine A knows you as a profile writer, and editor B at magazine B knows you as a service writer, you can better focus pitches to that editor—and he/she will have a better sense of what kinds of stories to assign to you, should he/she need a writer.

Again, I’ll give conferences a plug, and I’ll offer this anecdote. At last spring’s ASJA conference, I attended a panel on which an editor I’d written for in the past was speaking. Before the panel began, I went up and reintroduced myself. I didn’t try to pitch him, just wanted to re-establish visual contact with him. Three months later he phoned me, because he was in a jam and needed a writer fast to pull together a piece. He remembered seeing me at the conference (and told me so), and that’s how I got the assignment. But that’s not even the happy ending. Since then he’s called me two more times, and he’s referred me to another editor at his magazine. She just gave me my first assignment. All told, that quick greeting at the ASJA conference netted me more than $2,000 in work. - Leah Ingram

-Be professional. This is basic stuff, but meet your deadlines. Help as much as possible, but don't allow yourself to get walked all over just to please an editor.

If you're not working on something for that editor or if the editor isn't assigning for a while, check in from time-to-time with a general e-mail--make it short and make sure to mention that you're available for work.

Be personable. If you've worked with an editor for a while, he/she may mention personal stuff--family, work, an upcoming birthday. If so, write it down and remember to ask how little Johnny's ballgame went. It's just like developing relationships with people in an office environment--even though we may be in other states/countries.

Be yourself. If you're being fake and trying to kiss up just to get work, the editor's BS detector will go off loud and clear. Think about it: would you want to work with a phony? Nope... - Michele Wojciechowski

Kick-Ass Queries

So...are any of you guys as close to vomiting as I am? If I see one more Kit Kat around my house, I'm going to lose it. Unfortunately, my husband insisted that we didn't have nearly enough candy (most likely because he'd eaten half of it), and now I'm saddled with a two-month supply of mini-candy bars. Which normally, wouldn't be such an issue, but this present moment, after eating 50 of them in the past 12 hours, means that I might barf.

Anyhoo, following up to yesterday's "how to break in" question, we're rolling on to query letters, which many of the freelancers suggested are the key to knocking down new doors. So, along those lines:

Today's question: How do I write a kick-ass query letter?

-Know the magazine and know the section that you're pitching. If possible, know something about the editor--for example, I've found that some editors want long queries, but some, even if they're new-to-you, only want a couple of paragraphs. Make sure it's engaging. The query should grab the reader by the scruff of the neck in the first paragraph and make the person want to keep reading to see what happens. - Michele Wojciechowski, Maryland-based freelance writer and humorist. To receive her weekly humor column, Wojo's World (tm), via e-mail, contact her at MWojoWrites@aol.com

- The key to writing a kick-ass query letter is to leave the editor saying, "Wow -- this writer not only knows my magazine but she cares enough to send a query that will leave me with no unanswered questions." The editor should be able to visialize the layout of the article by the time he/she has finished reading the query. One thing, though, that comes with experience, is to know the questions that editors will ask. For instance, if I am pitching a medical topic, the first thing I will be asked is if there are any new studies or findings on the topic or if there is a new book coming out. Also, a query should be written in the voice of the magazine. For instance, a query I send to Women's Health is going to have a tone different than a pitch for the health section of Woman's Day. - Sharon Anne Waldrop, contributor to Parents, Parenting, Health, Women's Health, Glamour, Alternative Medicine, For Me, and All You

- Model it on the stories you see printed. Think of a great cover line; that's your title. Even if that title doesn't get used, at least you're thinking about it, and that will be noticed. - Sandra B. Hume

-Making sure you read it out loud before hitting the “send” button. (Yes, I query by email pretty much 99% of the time.) Also, remembering those old tents of journalism—the five Ws and the H—and ensuring that your query includes them all. Finally, being clear about why this query is right for X magazine and why now. - Leah Ingram, http://www.giftsandetiquette.com

- A great intro gets the editor to keep reading. For me, that means writing in the voice of the magazine, and doing something that hasn't been done a zillion times before. Also, I always include any relevant research, so the editor knows I've done my homework on the topic, and I outline who my experts will be so the editor knows I know what I'm doing. - Camille Noe Pagan, camillenoepagan, contributor to Glamour, Health and Prevention, among others

- I think a query letter will give your editor a sense of your style.. so make it look good. I dont write long letters - just quick and to-the-point letters with relevant information. In some cases, it makes sense to interview a few sources before hand to get some good quotes. - Monica Bhide, monicabhide.com, contributor to AARP-The Magazine, Health, Food & Wine, Cooking Light, Town& Country Travel, Departures, Washington Post and the New York Times

- I say this from an editor's perspective: a kick-ass story idea would have a hook that would only fit in that magazine. It would have a title and a deck, and maybe even a coverline. It would be written in a style that matches the magazine. - Denise Schipani, author of the Mommy Confidential column in American Baby, and contributor to Parents, Parenting, Parent & Child, Women's Health, Woman's Day, and Redbook, among others.

- Know your audience, know your query (e.g. don't be wishy washy), and include concrete examples. This might mean doing research before you pitch, but it'll pay off. - Jen A. Miller, jenamiller.com

- Show the editor how you’d approach the piece. Find new information, research or trends. Tell her something that she doesn’t know, or that her readers need to know. Write a killer lede. (If it’s good enough, you might have just saved yourself some work on the piece.) The more work you put into the query letter, the easier you make it for the editor to decide whether this is a good piece for her – and whether you’re the writer to take it on. - Gwen Moran, gwenmoran.com, contributor to Woman's Day, Family Circle and Entrepreneur, among others

How to Crack the Code

Continuing with the Q/A with some crackerjack freelance writer friends, today's question is:

How do I break into a new-to-me magazine or market? Here's what they said. (For their top-notch credits, check out yesterday's post.) Oh, and Happy Halloween! I plan to spend the rest of the week gorging on my son's loot. :)

Oh, a few more fabulous words of wisdom on how to ask for advice from my pal, Linda Formichelli, co-author of The Renegade Writer.

- Spend some time really studying the magazine and be sure you know what they have run in recent issues — you might even mention a recent story in your pitch (if it’s relevant). Find out who handles the section you’re pitching and fire away! And be relentless about follow up. If I think a story is perfect for a particular publication, I’ll follow up with the editor every few weeks until I get some sort of response — even a “no.” - Amy Paturel

- Come up with fabulous ideas and pitch, pitch, pitch. Tie that first pitch into a query letter so the ed gets a feel for who you are and what you're about. Oh, and don't cry when they don't respond or reply with a cold, "Thanks, but no thanks." Just keep pitching. That new-to-you ed needs to recognize your name when it pops up in his or her inbox. Not as the psycho wannabe writer who throws any old idea at them but the writer with good ideas that is soon sure to come up with the GREAT idea. - Lauren Russell

-Read, read, read. Read the magazine and try to get a sense of who their audience is. If they have any information on demographics, editorial calendar etc.. that is very helpful in writing pitches. -Monica Bhide

-Plain and simple: write the best query of your life. I don't send out tons of queries like many other writers do; I only send out the ideas that I know are really, truly good and that I know I can sell somewhere--if not at the magazine I'm querying, then somewhere else. I would rather send a few quality queries than 50 bad ones, because if a magazine is new to you, that query is all the editor knows about the quality of your writing. (Good clips don't hurt, but bad writers can have good clips if the editor was willing to do the clean-up work.) - Camille Noe Pagan

-I’ll give the ASJA conference another plug, along with the Magazine Writers One on One conference in Chicago. Both are excellent ways to get the inside scoop on what editors are looking for from freelancers, because they will tell you this right from the podium. Why waste time perfecting a query for a section of a magazine that you come to find out is staff produced? Since conferences only occur once or twice a year, the rest of the time I would suggest focusing on magazines that you like as a reader AND the sections you enjoy as a reader—again, assuming they’re not staff written. For example, I’m a Family Circle subscriber, and the magazine used to have a column called “Women Who Make A Difference.” It was the first place I turned to whenever my magazine arrived in the mailbox—I was raised by a mother who believes strongly in giving back—and it was the one place I wanted to see my byline. It took about two years of pitching but eventually I sold a piece, which appeared in an October 2004 issue of the magazine. - Leah Ingram

-Follow-up has proven to be one of my most rewarding practices. And not taking ANYTHING personally, ever. It's never about you. - freelance writer Sandra B. Hume

-My best tips on breaking into a new-to-me magazine is to have several ideas in mind when I send the first pitch. Then, if my idea is turned down, I already have another query waiting in the wings to send to the editor right away. Also, I feel that persistence, without any signs of desperation or being annoying is important. There is a fine line between showing an interest in writing for a specific magazine and being too aggressive. Editors are extremely busy. Although selling my article or essay is a priority for me, it is not top priority for the editor and I respect his/her needs to complete tasks other than reading my query and getting back to me. If I don't receive a response to a pitch within two weeks, I e-mail a kind note to the editor that says, "This e-mail is just a quick follow-up to inquire if you have had a chance to review the query I sent you on XX-XX-XXXX. A copy is below for your convenience." If I know that a magazine's response time is lengthy, then I may wait a bit longer before following-up. - Sharon Waldrop

-I study the magazine and figure out what section I'd like to break into. Then I keep on the look for story ideas that will fit the best. I try to have a couple of ideas ready, that way, if the first one gets "bonked," I've got another one to send while the editor is still thinking of me. - Michele Wojciechowski

-Persistence and patience. And more persistence. Also, a feeling of "what the hell." Don't worry so much. Just get it done, and press send. - Denise Schipani

-A knock out query. It can cover the fact that you might not have clips. I've also had success with letters of introduction and following up with ideas. - Jen A. Miller

-Traditional advice is to read the publication, or at least go to the web site, and I think that’s very basic and useful. It’s also helpful to review six months’ of topics in that pub to be sure you’re not pitching something that’s in the current issue. That said, I know others who have queried publications they’ve never seen before and gotten assignments. I believe it’s about the query or intro letter. Show the editor what you can bring to the table – new information, research skills, a track record in a particular area. I always try to do my homework before querying.

Follow up. I know some folks are reluctant to do that, and I don’t advocate being a stalker. However, many times an e-mail will get lost in the shuffle or an editor just hasn’t had time to review it. I’ve gotten many assignments after following up a few times. Also, I know some folks give a two- or three-week deadline and then pull the query. I’ve had queries sit for months and months with publications I wanted to break into. I tailor my queries pretty specifically and I have lots of ideas, so it’s usually not a big deal for me to work on the editor’s timeline. - Gwen Moran

How to Approach a Mentor

As promised, I'm devoting this week to letting some fellow freelancers chime in with savvy advice on a variety of questions that I posed and that they were kind enough to answer. We're kicking off with a subject that I raised last week while discussion competitiveness: the right (and wrong) ways to go about asking an established writer for help. Many of my own sentiments are reflected in their answers, so I won't spout off here, but needless to say, these gals know of what they speak...so read on!

What's the best way to approach you for advice? What turns you off?

"I prefer being approached by e-mail. Phone calls interrupt the flow of whatever I’m doing, but I can put an e-mail aside and answer it more thoughtfully, link to resources, and generally be more helpful when I answer e-mail. I usually give a list of 'homework' to new writers – I’ll refer them to some books, web sites and resources that I’ve found particularly helpful, then tell them to come back and ask me anything they like after they’ve read those. I never hear from many of them again. However, those that do the home work and return with questions are those I know are serious about building careers as writers and I’m happy to help in whatever way I can. I had some very generous writers give me tips early on. To me, it’s just paying it forward.

Some don’ts: Don’t ask me for editor contact info right off the bat, especially when that information is just as easily found by calling the magazine or looking at the pub’s web site. Don’t use my name without my permission. Don’t expect me to do the homework for you – this business is about research and finding information. If someone can’t be bothered to read a book or visit a web site, how will that person be able to research a story? It’s hard work, but it’s the best thing I’ve ever done.

And, sure, I appreciate a “thank-you,” but it’s not something for which I sit around waiting. A simple “thanks” in an e-mail suffices. I don’t need engraved notes or flowers." - Gwen Moran, gwenmoran.com, contributor to Woman's Day, Family Circle and Entrepreneur, among others

"I'm peeved when people will ask me advice on someone's behalf, such as "my kid would love to do what you're doing. Would you talk to her?" If it really mattered to the kid, she would talk to me herself. Phone call or email works, and say thank you." - Jen A. Miller, jenamiller.com

"I don't mind helping newbie writers. But I can't formulate someone's approach for them, or invent talent, or provide a made to order career for someone. I don't mind ONLY when the person has specific questions to ask, after some legwork has already been done. Asking for nonspecific advice would be like walking into Home Depot and saying, "I want to remodel my bathroom," and then clamming up and expecting the poor Home Depot worker to do it all. Instead, you should say, "I've started planning my bathroom remodel. ARe there books or magazines you guys have that could help me narrow down material choices? What aisle are the plumbing fixtures in?" My point is that newbies should be able to ask experienced writers for a push in a certain direction, but not FOR the direction itself." - Denise Schipani, author of the Mommy Confidential column in American Baby, and contributor to Parents, Parenting, Parent & Child, Women's Health, Woman's Day, and Redbook, among others.

"I like to be approached by aspiring freelancers because I love the business. However, my time is limited because I am busy with my own deadlines, marketing myself, and raising a household of children with endless wants and needs. There are books on the market that explain how to get started better than any info I have to share. When someone expresses an interest on getting started, I refer them to Ready, Aim, Specialize by Kelly James-Enger and The Renegade Writer by Diana Burrell and Linda Formichelli. Both books are excellent and are helpful to both new and experienced freelancers. These two books, along with my membership to Freelance Success (http://www.freelancesuccess.com/) are responsible for getting me where I am today. Once I send someone in the right direction to do their own research -- and after all, a writer needs to know how to reserach -- I welcome them to contact me if they have any questions or want some advice. I will always remember the people who put me on the right track to get started. " - Sharon Anne Waldrop, contributor to Parents, Parenting, Health, Women's Health, Glamour, Alternative Medicine, For Me, and All You

"I usually don't mind new writers asking me for advice. I do mind when they ask for specific contacts at publications and want to use my name. I've worked hard over the years to establish relationships, and that's what they will need to do too. I do get irritated when I've spent quite a bit of time helping someone, and then he/she doesn't even say thanks. You need to have good manners to get ahead. I don't need writers to throw rosepetals at my feel, but I thank-you e-mail would be nice.

And while I am okay with helping new writers, I do have work I'm doing. One thing that bugs me is when I can't get back with someone immediately, and I keep getting e-mails asking either if I got the first e-mail or when I will get back to him/her. I feel like screaming, "I WILL, BUT I'M ON DEADLINE!" Ahhhh...that feels better." -Michele Wojciechowski, Maryland-based freelance writer and humorist. To receive her weekly humor column, Wojo's World (tm), via e-mail, contact her at MWojoWrites@aol.com

"Probably the BEST way to get some free (well, almost free) advice is to attend a mentoring session at the ASJA conference, which is held each spring in New York. I’ve volunteered as a mentor in the past, and I’ve also run the entire program, helping to match would-be and beginner writers with established ones. In addition, paying for a subscription to Freelance Success allows you to establish relationships with professional writers (via the message boards) and gives you access to them for asking and answering questions." - Leah Ingram, http://www.giftsandetiquette.com

"I don't mind giving new writers advice, but I have found myself becoming more hesitant to hand it out to those I don't know because so few people even bother to say thank you (which is a pet peeve of mine--how hard is it to email those two little words?!).

Also, I'm so much more likely to open up to you about my experiences if I know you've done some legwork yourself. If you haven't even done a google search on freelancing, that tells me you're not serious about it, so why should I share information that took me years to learn?

Oh, and this sounds weird, but it happens all too often: if you want advice, don't insult me in the process of asking for it. For example, at an event a few months ago, an acquaintance of mine grilled me on freelancing for half an hour, only to announce, "Ultimately, I want to be a real writer, like Augusten Burroughs or James Frey--not what you do." (I couldn't make this up!!!). I was so taken aback that I walked away without saying another word. " - Camille Noe Pagan, camillenoepagan, contributor to Glamour, Health and Prevention, among others

"I always enjoy hearing from new writers and dont mind helping them at all as long as they are ready to help themselves -- what I dont like is people who write to me and expect me to give them the keys to the magic kingdom! There are no keys. Writing, like any other profession, is hard work and requires dedication and commitment. I get a lot of emails asking me for editorial contacts, so I ask you -- if I (as a complete and total stranger) called you out of the blue and asked if I could use your name to apply for a job would you give it to me? Take the time to read up some basics and write for specific advice. I am always ready to help." Monica Bhide, monicabhide.com, contributor to AARP-The Magazine, Health, Food & Wine, Cooking Light, Town& Country Travel, Departures, Washington Post and the New York Times

"I don't mind he or she approaching me at all. Sure, if that person has never even attempted to seek out a $5/story gig at their local newspaper and "wants to know how to do what I do," then I'll be thinking Ooookay. But my experience with this has been a writer who just moved to NYC (I knew her already) and who wanted to know what to expect in freelancing, resources, etc. I suggested us meeting at a nearby coffee shop because it was so much easier to just get it all out in an hour (before I went I also wrote down Web sites, books, etc. for her) than chatting about it via e-mail or phone. Bottom line: If you're a fledgling writer and want expert advise, do you homework beforehand and have specific questions prepared. Offer to meet this person for coffee or send an e-mail asking if the "expert" would mind telling you about a few things. That person may prefer e-mail." Lauren Ann Russell, contributor to Women's Health, Men's Health, Self, Fitness and YogaLife

"E-mail is usually best for first contact. I’m happy to help new writers and am usually very detailed in my responses. What drives me crazy though, is when I craft a very thoughtful (and long-winded) response and never hear a peep from the person again — not even a thank you." Amy Paturel, columnist for AOL and contributor to Health, Cooking Light and Women's Health

"I hate it when there's an assumption that you have all the time in the world to help out someone new, especially if they know nothing about the business. Remember, as freelancers, we only make money when we're working for paying clients. I hate it when there's no "thank you." If advice or a tip I shared made a difference in someone's life, I'd really love to hear about it. Sometimes I'll hear years later ... it would have been nice to know." -Lisbeth Levine, Chicago-based freelance writer

Q and A with Two Custom Publishing Editors

Taking a break from your questions to delve into the world of custom publishing. (Ooh, does that make it sound sexy?) I'm a huge fan of writing for custom publications, but a lot of writers don't really know what this is, so I thought I'd pick the brains of two of my favorite editors, Casey Casteel and Michelle Reneau, who manage many of the magazines published by American Airlines Custom Publishing Division. (Please note: this is NOT a call to pitch them. They were kind enough to answer these questions, so please be respectful of the fact that they're already being more than generous with their time! PLEASE. I cannot stress that more. I plan to do Q/As with more editors, but won't do them if I hear that editors are being overwhelmed with queries from this blog - I'd just feel badly for them and wouldn't want to impose.) For more on custom publishing, including other custom publishers, check out the Custom Publishing Council.

Also, do check back next week! Taking this brain-picking concept one step further, I've asked a dozen or so successful writer friends to answer a few questions about the industry/freelancing world, so I'll be turning the blog over to their insightful answers...I think it's always good to offer fresh perspectives, just in case you were getting sick of moi. :)

Okay, without further ado, Casey and Michelle:

1) What exactly is "custom publishing?" How many clients does AA Custom publishing have?

Here’s the canned response from our website: Custom publishing is the art of tailoring marketing messages—via magazines, e-content, or other channels—to make them meaningful for their intended audience.

The thing is, a custom magazine can tell a story that an ad can’t. It can educate, position the company as the authority, and expand the typical reach of their message. It also allows companies to develop relationships with their customers, positioning themselves as leaders in their particular field. It’s another way to win brand loyalty.

2) How do you come up with the story ideas for each magazine? (i.e., do you sit down with the clients or develop them in-house?)

It depends on how involved the client wants to be. Generally we have story idea meetings within our group and then present the lineup to the client. Every so often the client will have a specific topic they want us to cover, but we always go to them with our ideas first. However, at the end of the day they have the final say on the editorial lineup. Then we have them sign off on the agreed-upon lineup before we assign anything.

3) Do you often accept pitches from writers or do you tend to assign out to them?

It’s nice to get pitches because we run out of ideas. But because of the nature of the business, unless the magazine is open to topics besides client-driven stories (for example, My Home Life or IN: Mind, Body, Life), we usually already have all the ideas in place.

4) Along those lines, how does a writer get in your good graces?

Well first I’ll be selfish and say it gets old hearing “How do I get my foot in the door with American Way?” But other than that it’s the simple graces: turn the story in as complete a format as possible, get it in on time, and be open to changes or rewrites if it’s necessary. We don’t have many rewrites, but sometimes they’re inevitable. You have to know we feel terrible asking for them, so we really appreciate writers who don’t give us a difficult time about it. We’re all pretty easygoing here and we like to keep the atmosphere the same way.

5) How does writing for a custom publisher differ from writing from a consumer magazine? If at all!

Again, because of the nature of the business, we usually have the contacts for sources. We also pretty much have the direction of the story laid out, which makes it easier on the writer a lot of times.

6) What can a writer do to impress you and/or ensure that you'll work together again?

Same rules apply as to question 4.

7) Any tips for breaking into custom publishing? Should a writer have a specific background in the magazine you publish (i.e. automotive for a car magazine) or do you care more about his or her previous writing credentials?

Well, it definitely helps to have a background in the areas we cover, but it’s not essential. If you don’t, just do your research on our clients. For our regional publications, we pretty much are tied to using local writers, but that’s not a deal-breaker either. So, really, just keep in touch with us. We may not have something going on at the exact moment you write us, but when things come up, we tend to lean towards people we know and have had good experiences with.

Figuring Out Your Finances

Admin note: double post today guys! So keep reading after this entry. :)

How did you learn the business side of writing? Whether or not to incorporate? Intricacies of running your own business, billing, making sure you get payment, keeping track of it all for taxes? Can you suggest any resources?

I learned the business side through trial and error, frankly. For example, the first few years I freelanced, I didn't think to pay estimated taxes. Whoops. Got married, got a proper accountant and promptly corrected that.

I've spoken with a lot of freelancers about how they track their payments, invoices, etc, and most of us agree that keeping things simple is the best method. There's no need for elaborate Quicken software or anything like that. Instead, I use an easy Excel spreadsheet in which the columns are broken down by Magazine, Assignment, Due Date, Payment Received Date. Whenever I get a new assignment, I log it in the spreadsheet, and ideally, as soon as a check comes in, I log that in too. (Of course, sometimes I forget, and I have to backtrack through my deposits to see if I really have gotten paid, but most times, I'm on top of it.)

And this method has paid off for me - literally. Just last week, I was adding in another assignment, and took a quick glance over the spreadsheet to see how many outstanding payments were lingering. Turns out that I hadn't yet been paid for several stories that I'd filed many, many months ago, so I promptly emailed my editors, and they hopped to it. Without some sort of system like my Excel sheet, I'm confident in saying that I never would have been paid, which would have been a loss of several thousands of dollars - sometimes, invoices and payments fall through the cracks, so it's up to you (unfortunately) to stay on top of them. The sheet is also great for assessing how much estimated tax I have to pay. Since I can see exactly when each check came in, and in which quarter it arrived, I don't have to play a guessing game as to how much I owe Uncle Sam.

As far as invoicing, some magazines ask for them, some don't. The best way to find out is simply to ask your editor whether or not she requires an invoice for payment. And then file that when you file your story. If not, it's too easy to forget. (Trust me, that's the one area that I'm lax in: I often forget to send in an invoice, which explains several of those delayed payments.)

Very few writers I know have incorporated, so I can't speak much to that, but maybe some fellow readers can.

Finally, some resources: I picked the brain of Diana Burrell, co-author of The Renegade Writer, which contains a chapter on finances and freelancing. In addition to her fabu book, she suggested that you pick up Kelly James-Enger's fantastic resource, Six-Figure Freelancing, which has an excellent chapter devoted to the subject, as does Margit Feury Ragland's Get a Freelance Life.

So how do you guys keep your finances straight? Any good suggestions?

More On Competitiveness

I got so much feedback, both on and off the blog, about my post on dealing with competitive writers that I wanted to toss in an addendum. I truly didn't realize how many writers are bothered by petty comments on other forums and sites: it takes a lot to rile me, so I probably just ignore these comments more than most people, and I'm so sorry that so many of you are frequently demoralized by these insipid remarks by small-minded, competitive writers.

That said, here's the thing: whenever they make you feel insecure or demoralized or have you considering abandoning your writing career, know that everyone starts somewhere. Including these idiots. If they're slamming someone for signing a crappy contract or for taking on a seemingly poor-paying assignment (who are they to judge what your time is worth??) or for asking a silly question, know that all (okay, most) of us took shitty assignments at one point in our careers. That's just how it works. Establishing a career in freelancing is a snowball effect: you start small and build momentum. Did I start off with $2 assignments in my pocket? Hell to the no. Did I start off taking on stories that made my eyes glaze over? Hell to the yes. Did I start off asking plenty of dumb (to more experienced writers) questions? I think we all know the answer to that one.

And in case I need to drive this point home even further: as I've said plenty of times on this blog, remember that my first novel did not sell. No one wanted to bite. Is there anything more demoralizing than spending four years on a project and finding out that have to toss it out the window? Short answer - NO. So...could I have crumbled and tossed the fiction thing aside entirely, and instead glumly read the listings on Publishers Marketplace and fumed with raging jealousy and insecurity? Sure. But where would that have gotten me? Instead, what I did was decide to suck it up and keep at it. And then I churned out TDLF. Which is exactly what I was talking about in the previous post when I said that it really only pays to be competitive with yourself.

Look, I got a great book deal. But I see bigger, splashier deals posted every week on PM, but what am I going to do about it? Nothing. I wrote a book I'm immensely proud of, and that's all I can do. Regardless of your line of work, there will ALWAYS be someone who makes more, is more successful, is more famous, is more, is more, is more. Seriously - unless you're like, the President (not a job I aspire to), there is always someone who is succeeding on a bigger platform. So, again, my advice is to just aim to be the best you can be (do I sound like an ad for the army?) and screw the people who are trying to bring you down. A $1 a word assignment might be peanuts to one writer and and the mother lode to another. If someone tries to tell you that it's peanuts, but you know that it's the mother lode to you, then gracefully ignore them and get busy writing.

Juggling Your Balls (That Doesn't Sound Quite Right, Does It?)

How many assignments do you juggle at once? I new to freelancing and feel like I'm always too busy or really slow, and haven't figured out how to find the balance.

Ah, welcome to the feast or famine world of freelancing! The ebbs and flows are enough to drive even the sanest among us bananas, and yes, that includes yours truly.

However, I have definitely found a way to pace myself over the years, but it did, indeed, take some time. Here's my biggest problem, and if you're like me or like most freelancers, I'm guessing yours is the same: I cannot say no. I mean, I'm capable of it, it's not as if I don't say no to my son or my husband a million times a day, but when it comes to turning down an assignment, that simple little word rarely, if ever, slips through my lips. Which means that if an editor brings me work and I'm already swamped...I'm likely to become even more swamped because you can bet your booty that I'll be accepting the assignment.

But just because I'm incapable of turning down work doesn't mean that I always work at a frenzied pace. What I've learned to do is really only pitch stories that I'm truly interested in, and, as I've developed real relationships with editors, I have a pretty firm handle on what will or won't fly with them. Thus, for example, I'm not going to throw out an inane story on sexual technique just to have something to occupy myself with, and I'm not going to throw 10 ideas at one of my editors and hope that one will stick. Earlier in my career, I did plenty of both - which generated a lot of work (and helped me create those critical relationships with said editors), but didn't necessarily keep my brain juices flowing. NOW, I'm satisfied when I'm working on a few juicy features - let's say 4-6 a month, rather than a stack of FOBs, several features that didn't require much mental energy and one or two that did. So this method has not only slowed down my work rate a bit (which is a good thing), but also ensured that the stories I'm working on are engaging. Am I making sense? (I'm asking that seriously...I'm not sure if I'm being clear.)

Now why, you might ask, would one pitch a story that she's not really interested in? Well, for a million reasons, not least being a paycheck, but also because freelancers - like actors- get anxious if they don't have a well full of assignments. So, in the past, maybe I'd read some new research and understand that there was a good story there, even if that story didn't hold a lot of interest to ME. So I'd pitch it. And then be saddled with writing it. UGH.

Another way that I've whittled through the madness is by sticking with editors with whom I enjoy working. Now, I realize that this is a luxury that not all freelancers can afford (literally), especially early in their careers. Because I'm not casting as wide a net with my pitches, I'm definitely limiting the number of assignments I could potentially pull in. But again, for me, it's quality, not quantity these days, and I have no regrets.

Finally, when things are about to get really slow (ergo, famine time!), I make sure that I'm on my editors' radars. I'll shoot them notes saying, "hey, wrapping up some things, let me know if you need anything from me." Sometimes they have nada, but sometimes, they have plenty. The key is being organized enough to look at my deadline schedule and realize that I'm hitting a dead zone in, say, two weeks, THEN sending the emails, rather than waiting until I'm watching Laguna Beach because I'm so bored. By capitalizing on this lag time - time when I'm still working but anticipating the slower future - I usually stay in a pretty busy cycle.

So how do you guys ward off the feast or famine syndrome?

ETA: Holy crap! Have you guys seen the trailer for the new season of 24? I'm freaking out! Go Jack Bauer!! (And thanks to Larramie for the heads-up!)

Sizing Up the Competition

I lurk on a writers board where a few of the posters are subtly competitive with the other writers. Every time I read their posts, I can't help but feel bummed out. A) Because they're quite successful writers and b) because it makes me think that this is a dog-eat-dog industry, and that writers work against each other to get to the top. So...there is a question in here somewhere...have you found this to be true? And if so, how have you dealt with it?

Okay, well, first of all, there are a few things to address here. The fact that their posts bum you out is the first issue. I've said this before and I'll just reiterate: in order to thrive in the publishing industry, you need to develop a thick skin. So what if these a-holes are posting snarky, holier-than-thou advice and posts? So what if they're successful writers? Whether or not they're rude OR successful has absolutely no bearing on whether or not YOU could be successful. I can't reiterate this enough. Don't get me wrong, I loathe competitive writers (more on that below), but what I might loathe even more than competitive writers are jealous writers...and yes, you do see plenty of them in our industry. But here's the thing that both sets of groups need to learn: there is more than enough work to go around, and if you're armed with either chip on your shoulder - the ridiculously competitive one or the ridiculously envious one - you're likely to sink yourself, not your competition. Rather than salivating over another writer's portfolio or workload, why not send him or her a note and ask her how she does it? Or ask her if she's willing to mentor you? Or ask her if she can refer you to a good book on writing.

(Actually, let me amend that. I get plenty of random notes from friends of friends of friends who want to pick my brain. And most of the time, I don't mind. However, there are correct ways to go about this and incorrect ways to go about it, and...you know what? This is another blog entry entirely. I'm going to save this for later in the week, and will offer up pointers on how to approach successful writers. Because I'm going off on a huge tangent right now and not answering the original question.)

Anyhoo, to get back to writers competing with other writers. Yes, some folks do this. And yes, it's unfortunate. And yes, I think they're assholes. Why do they do it? Well, I'm not a Ph.D, but I'd guess that it's similar to the reason that underendowed men drive overly-fancy sports cars: in other words, compensation, my friends, compensation. Not compensation for the fact that they're unsuccessful. In fact many of these writers are in the top professional tier. Rather compensation for their poor self-esteem. They're not really different than the bully who taunted people on the playground back in grade school. Only these writers are savvier and more subtle in how they attempt to degrade you and in doing so, make themselves feel better. So...the point of this above paragraph? Their competitiveness has everything to do with themselves and nothing to do with you. Period.

The good news is that there are PLENTY of writers out there who, while competitive, are primarily competitive with themselves, not with others. What does this mean? It means that as a writer, I'm constantly pushing myself to be the best writer that I can be, and I fully understand that this is the only thing that I can control. In fact, many of my writer friends are more than happy to refer me to editors, to help me flesh out an idea, to offer assistance in promoting my book. And you can bet your butt that I do the same for them all the time. Because, seriously, if they come up with a kick-ass idea for, say, Glamour, it's not as if they're pushing out my idea or my slot in the magazine. Their kick-ass idea is their kick-ass idea, and if an editor loves it, then she loves it. See how this has nothing to do with me? And only with the success of my friend? What lands me a story is when I come up with a kick-ass idea: her good fortune isn't tied to my bad fortune at all. And in fact, I'm always thrilled for my friends and colleagues when they do well because it's a sign that a) they're awesome (hee!) and b) I can learn something from them.

Why not all writers feel this way is beyond me, but some don't. That said, I don't know how different this is from any other field: my husband knows plenty of jealous, competitive people in his industry, and we've all surely encountered plenty of petty folks in all walks of life. So my advice? Bunker down and be a great writer. You're the one who will have the last laugh. (Not that you should be laughing since you're not competitive! Ahem.)

So how do you deal with snarky, competitive people?

Timing is Everything

You've mentioned the "six month lead time" a few times in your blog. Can you elaborate on that? Does this mean that you see your stories in print six months later?

What this means is that most monthly magazines work about six months in advance. Now, this can fluctuate from magazine to magazine, and there's no hard line about when an article will come out. Mostly, I think it's a good guideline to keep in mind for pitching. For example, right now, I have several editors who are looking for ideas for April and May. Given that it's late-October, they're scheduling their issues six months out...so pitching an idea for New Year's or even Valentine's Day isn't going to cut it. (Keep in mind once again that I'm talking about monthly mags. Scheduling is going to be quite different for weeklies and newspapers.) I know that it seems weird to have to drum up ideas for next spring, but that's just the way that this industry works. By the time they've done the editing, layout, art, shipping, etc, it's six months later.

Now...as to when those stories will actually appear, it's anyone's guess. Just last week, I opened up my new issue of SELF, expecting to see my byline, only to discover that my story wasn't there. Turns out it had been bumped for a few months. And looking over my spreadsheet of assignments for this past year, I have no less than seven stories that have been pushed back from a designated issue and are lingering in limbo-land...accepted and paid for but not yet published. I guess the key here is not to get too attached to any one story because while nearly all of them will come out eventually, you never can be certain exactly when they'll see the light of day. In fact, I have one piece that I filed well over a year ago that still hasn't been scheduled. You know what? As long as they pay me, I don't complain. I've fulfilled my end of the contract; they've fulfilled theirs.

So what's the longest you've ever gone from having a story accepted to seeing it published?

Spreading Yourself Too Thin

Admin note: I know that there are a lot of new readers to the blog, so here's how it works: have a question about the publishing industry (mags or books)? Send it to me via email at allison@allisonwinn.com or post it in the comments section, and I'll answer it here. It's that easy! And don't be shy. Unlike some other bloggers, I won't bite! Promise.

Question of the day: When you were searching for an agent, how many queries did you send out at a time? Some writers I know send out 50+, while another friend has just targeted her top three.

When I began my agent hunt (back on book number one, which did get representation, but didn't sell), I think I started out by contacting about 10-15 agents from the get-go. I felt like this was a safe enough number to assess whether or not my query letter would work (it did - I got a lot of responses), but not too many that I closed off a lot of my top choices should these 10-15 not pan out. And the strategy worked for me. As I quickly discovered, there were dozens of other agents to submit to - beyond my initial 10-15 - and with every rejection that came in, I fired off another query to another agent. I tried to always have about ten queries, partials or fulls in play, so that there wasn't any downtime when I didn't have anyone reading. However, agent hunt number one wasn't perfect, by any means, if only because, as I alluded to above, I could have perhaps better targeted my initial pitches to agents I was truly wild about, rather than firing off emails to agents who fit my general criteria but might not have been great matches for me in the end.

I was better educated the second time I went on my quest - not in terms of quantity, I still stuck to my "ten balls in the air" theory, rather in terms of quantity. This time out, I really focused solely on agents who I knew would be great fits for me. How did I know? A lot of research: seriously, there's very little that you can't find out about an agent online, and if you look long enough and hard enough, you'll be able to pinpoint who you think would work well for you. I was also much more confident in this ms (TDLF), so I aimed the bar high, primarily targeting agents whom I might have been intimidated to contact from the get-go the first time out. Which, when I think about it, is sort of silly. The intimidation part, not the targeting part. It seems to me that you want the best possible agent for your work. Aiming the bar slightly lower because you're concerned that a fabulous agent will reject you is non-sensical. (Even though I did it!) I mean, if he's going to reject you, he's going to reject you! Why not give it a try? Which is what I did this time around, and I was shocked that some super big-time agents not only took the time to respond, but to also read the full and provide lovely feedback.

Though this does bring me to another tangent altogether: just because someone is a super big-time agent doesn't mean that he or she is the right agent for you. In fact, in the end, I intentionally chose an agent who was up-and-coming but not too huge yet because I wanted someone who still had time for me. So when you're making your top 10 or 20 list, don't just go for the big guns; go for the agent who can pull out the big guns for you. This is critical. There is no "perfect" agent; only the perfect agent for you.

But back to your question: I don't think I'd have 50+ queries in play. What if your query letter sucks or what if you decide to revise your ms and you've already burned through most of your choices? I like the 10-15 number because it ensures that someone is always reading the ms (or query), but isn't so expansive that you limit your options in the future.

How have you guys gone about your agent hunt?

PS - SQUEEEEEEEEEEEEEEEEEE!!! Jim and Pam 4evah! :) (You regular readers know what I'm talking about, and you non-regulars, get thyselves to a TV to watch The Office asap!)

Thank You Notes

When you were beginning your freelance career and received rejections from editors (one-liner's that basically say "No, but thanks for thinking of us."), did you send an e-mail back saying "thank you for responding" or would editors rather you didn't respond to a rejection?

I always, always write an editor back and thank him or her for responding. Hell, I'd do it even if she just sent me a note saying, "NO." I've never heard that editors find this annoying, and frankly, I think it's the courteous thing to do. Think of it this way: you don't know them, they don't know you. You send them an unsolicited note, which, while technically part of their job to read, really isn't a requirement since you're a stranger, and they not only take the time to read it, they actually respond. The polite thing to do is let them know that you appreciated their time. Yeah, yeah, I know you're reading this and thinking, "hey, they're not doing me any favors by replying to a query, since it's the least they can do," and you're not wrong. But what I'm saying is that since plenty of editors DON'T reply to unsolicited emails, it's nice to genuinely thank the ones who do.

Besides, you can never go wrong by being unfailingly polite....regardless of the situation or industry. In fact, I'd use your thank you note to let this editor know that you not only appreciate his or her feedback and time, but that you'll also be in touch again with new ideas. This forces you to get your rear in gear and generate another query, and also gives him or her the heads-up that you'll be emailing again. This time, maybe you won't be considered such a stranger.

Btw, this same logic applies to agent queries as well. Even if an agent sent me a flat-out form rejection, I'd shoot back a quick note saying, "Thanks for your time. I really do appreciate the response." And you know what? I remember doing this for Jennifer Jackson of the Maass Agency, and the next day, she blogged about how that week she'd gotten thanked from a few writers whom she'd rejected and how professional and courteous we were. So...that's straight from the agent's mouth. It never hurts to leave a good impression, even if they're the ones who are kicking you to the curb.

Anyone else always thank the very people who are rejecting them?

Stolen, Schmolen

I pitched an idea to an editor I'd never worked with before. A few months later, I saw a story in the magazine that was virtually the exact same idea I pitched! I'm irate. Can I do anything about it?

No. And you shouldn't either. WHY?? You might ask/fume? Because the odds are slim to none that YOUR idea inspired this story. Stick with me here, and I'll explain.

At some point in many fledgling writers' careers, they assume that one of their ideas has been ripped off. It's an easy enough assumption: ideas aren't copy-writable (yes, I think I made that word up), and hey, since you sent it into your editor, surely, she read it, loved it, but just passed it on to someone else. Right? Right? Wrong.

Here's the deal: as genius as we like to think of our ideas, most of them, sadly, aren't really that unique. Chances are, if you thought of it, so too did at least one - if not six - other writers. Think about this. We all have access to the same research, news reports and general trends. If you develop a pitch on how yoga can save your life, the odds are very likely that someone else has too. Sometimes, landing a story is simply a matter of who presses "send" first. I can't tell you the number of times that an editor has come back to me and said, "we just assigned a piece on this subject, sorry!" And I'll stew over my keyboard thinking, "why didn't I motivate and get off my ass and send that in sooner??" Ah well, c'est la vie.

The thing is, it really doesn't serve any purpose for your editor to take your idea and run in the other direction. Why would he or she do that? Editors aren't there to screw you, and they're not unethical or amoral. If you deliver a well thought-out and researched query, they'll be impressed. But just as importantly, you have to deliver a unique query. "10 Ways to Lose Weight" is not unique. "10 Ways to Spice Up Your Sex Life" is not unique. Get the picture here? If you send in a pitch like this, well, of course you're going to think that they ripped you off because at some point in the near future, an article will appear on these subjects....but that doesn't mean that the editor took her inspiration from you. In fact, if it was a fairly generic pitch, she probably read it, hopefully responded, and then deleted it. (Sorry, it's true.) It didn't haunt her enough so that she took the time to farm it out to a different writer. Trust me, really, she didn't.

If you're 100% certain that you've been ripped off, because sure, it does occasionally happen, then I'd send her an email saying something like, "I loved the story in the November issue on how to turn your garden into a kibbutz. I remember pitching you something very similar, and that you responded to it positively. I was hoping to, of course, be assigned this piece. Was there a mix-up along the way?" Or something like that. I wouldn't make flagrant accusations because unless she used your intro word for word or cited the exact anecdotes that you provided, you really have no way of knowing what truly happened. Sometimes, you'll send in an idea, it won't be right for them at the time, then several months later, someone else will submit a similar idea, and it will fit. It might LOOK like the editor stole your idea, but, in fact, she'd forgotten about the original pitch and was just struck by this one.

And don't forget: most monthly mags work on at least six months lead time. So if you've pitched something and see similar a story three months later, it wasn't stolen at all. You were simply behind the game.

The bottom line is that you can stew and steam all you want. But moving forward and developing finely-honed and researched ideas is a much better use of your time.

Ever thought you had your idea stolen? How did you react? Editors on this board: want to chime in and explain how often you see the same idea over and over again?

Copycat!

Besides doing a Google and Amazon.com search of the subject, is there any other way to know if your book idea has already been published?

You can also check out Publishers Marketplace, which, for $20 a month, is well worth the investment: you'll see which agents are making what deals, which houses are buying what books, etc.

But there's something else I wanted to address with this question. I think that if you're writing non-fiction, let's say you're working on a book on weight loss, it's obviously important to know what competition is out there. I mean, there have been a gajillion books written on this subject and you need to ensure that yours stands out from the pack. In fact, when drafting a book proposal for an agent, you'll actually include a section on the potential competition, so yes, doing some research and seeing that you're not merely duplicating a previously published book is important.

However, with fiction, I'd worry less that your idea has already been sold and focus more on actually writing the best book that you possibly can. As we've discussed before on the blog, there are probably only so many variations on overarching themes in books: reinvention, lost love, death, grief, coming of age, etc. But how you develop these themes, how you expand and play out your plot is as individual as your fingerprint. Just because you see a book about a 28-year old widow has sold on Publishers Marketplace doesn't mean that it will in any way echo your manuscript about a 30-year old widow. See PS I Love You vs. Good Grief. Both deal with losing a spouse, but neither really have anything to do with one another. (Or so I think...I'm just starting PS right now, and it feels like a very different work than GG.) Publishers (or agents) aren't going to turn you down because there's already ONE book out there that might have a similar overall idea behind it as yours. They'll turn it down because of a million other factors: the plot isn't strong enough, the writing isn't strong enough, your characters aren't strong enough. You get the idea.

Just write the best damn book you can. That's really all you can do.

Who disagrees? (I'm sure that some of you do!)

More on Relationships and Persistence

I wanted to share a little story in light of what we've been discussing over the past week or so: how to forge long-term relationships with editors, the power of persistence and the necessity of patience. Thought that this anecdote might really help drive all of these points home.

So I wake up Friday morning to an email in my in-box from an editor with whom I haven't spoken in well over a year. A YEAR! In fact, I don't think I've written for this magazine in at least that long, probably longer.

Now, before I go on, let me backtrack. Remember how I posted a story last week about how it took me three years to land an assignment with one particular editor, and I landed it only after she moved on to a new magazine? Well, for clarity's sake, let's call her editor A. And let's call the editor who emailed me on Friday, editor B. When editor A switched positions and magazines, she started assigning to me, as I mentioned. She also referred me to several other editors within the magazine, one of whom was editor B. I wrote a few articles for editor B, but she soon got promoted to a position at which she no longer assigned pieces. So...that was that.

Until Friday. She's now back assigning, and a year later, she sends me a note out of the blue and assigns me an enormous feature at a top pay rate. See where I'm going with this? The beauty of freelancing is that if you work hard at proving your worth and if you take the time to hone your relationships with your editors (as I did with both editor A and editor B), you can develop career-long ties. What did I do to imprint myself into editor B's memory? I can't be certain, but I'd say it had something to do with delivering well-researched stories, happily tackling a few rounds of revisions, and being cordial, pleasant and friendly the entire time. I mean, isn't that what we'd ALL want from an employee? It doesn't sound like a magic formula (right? I mean, you're reading that thinking, "well, isn't this obvious?"), but you'd be shocked at how many times I hear editors complaining that writers failed on one or more of these levels.

Also, back to editor A, who as of late had also been promoted to a new position within the publishing house...thus my dry-spell in writing for them. She's now helming a few new projects for the publisher, and she too has come to me for story ideas and assignments. Again, this is a relationship that I really took the time to invest in...not because I was assured of any sort of payoff but because a) she was someone whom I admired and wanted to work for and b) regardless of if it paid off, it was the right thing to do for my career. You can never go wrong in attempting to establish strong relationships, even if that editor never sends a single story your way. You never know what you can learn from her or the process, when she'll pass your name along to someone else or when she'll think of you out of the blue.

So...I just thought I'd share. I really thought that this situation drove home a lot of the points we'd been chatting about on the blog.

Unrelated PS - Why, oh WHY, does that spiteful idiot continue to reap prizes and first place on The Amazing Race while that dear open-minded couple pull up the rear?? Is there no justice on reality television??? (Don't answer that. And yes, I tried to keep this intentionally vague for those who haven't yest seen it.)

I'm Stumped: Short Stories

A few people here have suggested that you try to publish short stories before selling your novel. Do you have any good recommendations on where to submit?

Confession: I'm not a short story reader. I have no idea why, other than for as long as I can remember, they just haven't appealed to me. Even when I was in my voracious Stephen King phase (back in high school, he was, weirdly enough, my favorite author, and I tore through every book I could get my hands on!), I just couldn't bring myself to read his shorts. (TWSS!! To quote my fave show, The Office. Hee.)

Which isn't to say there isn't a ton of merit in writing short stories - there is, and as some posters have suggested, they're a great way to nab great writing credits and boost your confidence. It's only to say that I really haven't the slightest clue where to get yours published.

So...I'm turning this one over to readers. Want to help out a fellow reader and offer up your favorite short story journals or websites?

Does Persistence Pay?

What if you have an idea for an article that you absolutely love. You write the query and there really are no bites but you firmly believe it is a good idea. Do you re-write the pitch? Is it bad form to resend a rewritten pitch to an editor who had not responded the first time around? Should you go the extra mile and write the article?

Let's answer the last question first. No - writing the article isn't going the extra mile; it's shooting yourself in the foot. You should never, ever write the article before it's assigned (travel pieces and essays are exceptions). It's the mark of a newbie: an editor wants to shape the story idea and thus the story from the get-go. If you've already done this, you've taken her out of the equation and not only limited the potential scope of the piece, but also limited the market and readers to whom it might appeal. DON'T DO IT.

Okay, with that out of the way, let's talk about persistence and how to go about this. Nearly every established freelance writer I know has been in this position. You have a jewel of an idea - you shop it around - you keep shopping it around - you shop it around some more - and still...no one bites. Sigh. In fact, I'm dealing with this very thing right now. It totally sucks. But you already know that since you asked the question.

There are a couple ways to handle this:

1) Shelve the idea until it becomes more topical. For example, my query deals with breast cancer. Most women's magazines cover BC in October, which is breast cancer awareness month. And, I discovered, most of them don't necessarily tackle many BC stories during other months of the year. (This is a sweeping generalization, but for the most part, it's true.) So...my story came close to getting bites for this year's Oct issues, but nothing happened. And the best thing for me to do is probably to sit tight, knowing that I still have a great nugget of an idea, and repitch it this Feb or March, which is around when mags will assign Oct ideas. So, even if your idea isn't about breast cancer, it might be seasonal or might be better suited to certain world events, I dunno, but you might want to think about setting it aside until it's more timely.

2) You could rewrite the pitch, but if you rewrite it, I wouldn't just reword it, I would reangle it. Chances are, your editor didn't shoot it down because she didn't like the way your query paragraphs read; she shot it down because the story angle didn't work for her. Sometimes, if you're lucky, the editor will come back to you and say, "Hey, this idea on how to save money doesn't quite gel for me, but what about this way of thinking about it?" Most often though, you're left to develop the new angle on your own. One of my editors once told me to try to make my queries as counter-intuitive as possible...as in, okay, we're going to cover the same subjects over and over again, we already admit t that, but can you approach it in a rarely-considered way? Can you take an almost backwards approach to the idea? It's really hard to do this, but if you can, you might be able to recapture an editor's attention.

3) You could also repitch the editor to whom you originally sent. I don't know if you'll have a ton of luck, but certainly, things slip through the cracks and slip even easier through in-boxes. Or double-check to be sure that you sent it to the correct editor in the first place. Call up the mag and ask. If you didn't, aim for a new editor.

4) Expand your potential markets. Look, if you really believe in your story and want it to be told, period, then get thee to Barnes and Noble or to google or even to Writer's Market and try to unearth new-to-you magazines and outlets. The piece doesn't have to be published in a magazine with a 2 million circulation to be of value...or to be sharply-written and edited. For example, a lot of parenting writers query Parents and Parenting. But these mags don't necessarily take edgy, science-y stories. So if you have a more off-beat piece, maybe you should lob in a query to Brain, Child, which isn't nearly as popular, circulation-wise, but certainly is an excellent publication.

So those are my thoughts. I know that there are a ton of writers out there who have struggled to place a stellar story idea, and I'm sure that I'm missing some tips. Want to add in your own?

My Editor, My BFF

After you sold your book, how much contact have you had with your editor? I feel like I go for months without hearing from mine.

First off, I don't know if there is a hard and fast rule about this, but I'm happy to share my experience, and if other authors want to chime in, that's fab too.

I think how much contact you have with your editor depends on several factors: where you are in the publishing process, how proactive you are, and how busy/senior your editor is. (I'm sure that there are other factors too; those are just a few that spring to mind.)

So, to break this down: after we sold the ms, my editor took me out to lunch and explained the general timeline. That, as you mention above, there would be lags in the process, and times when we couldn't get things done fast enough. I appreciated that she did this so I wasn't sitting around twiddling my thumbs, wondering why I hadn't heard from her in a few weeks. And, as she predicted, there have indeed been ebbs and flows. She got me my revision letter in February, a few weeks after we sold the book, so there was a flurry of activity during that time. Once the revisions were complete, things were pretty dead, and I don't think we had much contact...after all, there wasn't much to say! Oh, actually, we DID email about some blurbs, but that was just me firing off a note saying, "here's one from so-and-so." Once we got into art and ARC production (about four-six weeks ago), things picked up again. I imagine that from here through, say, Dec, things will be busy, and then they'll slow down, only to pick up again in Feb-March, as we do more publicity.

The next factor: how hands-on you are. I think there's a fine line between being proactive and being annoying. (And I hope I toe this line accordingly!) As I've mentioned, I've been pretty proactive in terms of blurbs, publicity, etc. So I've kept my editor in the loop as I've made progress...so in this respect, we've had perhaps more contact than other writers might have had with their editors. But really, only because I was updating her, not because she needed me for something or was initiating contact.

The last factor: you have to remember that your editor is handling a gajillion other things, not least including several other books. In my case, my editor is very senior and buys almost all of the books for one of Harper's paperback imprints, in addition to buying hardcovers for Morrow. So the gal is busy. Very busy. And it would be silly of me to think that she can devote time to me each day (or hell, even each week), even though her enthusiasm for the book is boundless. I can't speak to other editors' schedules, but I do imagine that most of them are overworked. I was AMAZED to learn about all of the various things that they handle - it seems like they juggle at least 5 different jobs. What's important, I think, is that your editor is there for you when you need her, i.e., during the crucial times to get your book launched successfully, not just because you want to know that she has you or your book on her brain. If you have nagging questions or outstanding issues, take them up with your agent...she can probably handle them, and if not, she'll direct you to your editor. Everyone wins.

So, other authors out there, how frequently do you speak with YOUR editor?

Write, Edit, Repeat

I wrote what I thought was a great story for a new-to-me magazine. The editor seemed happy, and I didn't have that many rewrites. Unfortunately, I haven't been able to get another assignment out of her. What am I doing wrong?

The short answer? Probably nothing.

The long answer? It can take years to develop strong relationships with your editors, but it sounds, at least to me, that you're off to a good start. One of the key ingredients in being a successful freelance writer is patience. Patience when it comes to breaking in to a magazine, patience when it comes to seeing that story in print, patience when it comes to landing a repeat assignment, patience when it comes to FINALLY have editors bring story ideas to you, not vice versa. So, at the risk of sounding trite, be patient.

Here's one example from my experience: a senior editor at a huge magazine saw one of my articles and called me. Asked me to send in some clips, along with story ideas. I was over the moon. This was a dream magazine, and one to which I'd subscribed since the dawn of time. So I sent everything that she requested. Ideas didn't fly. Sent more. Still didn't fly. Repeat, repeat, repeat. THREE YEARS later - I kid you not - I was still sending in ideas. She left to tackle a new position at a different magazine. Guess what? She called me when she landed there and promptly assigned me three stories. I'm still writing for both her and the magazine today. Oh, and I DID eventually manage to break into the other magazine too...another year down the road. Yes, that's FOUR YEARS of pitching until I found success. But the key here is that I took the time(or dealt with the time) to really cultivate a relationship with the editor, and it did pay off in the end.

So...back to you. Keep sending this editor ideas, even if they're near-misses, even if they don't pan out. Chances are, she now knows that you're a strong writer, she just needs the perfect story idea from you. Other ways that you can impress her: don't be needy, clingy, whiny or pushy. I can't tell you how many editors have told me that these above characteristics (even if they're subtle) turn them off. Do be flexible, easy-going, thorough and amiable: while I don't mistake my relationships with my editors for true friendships, in fact, many of them are my friends - I know what they like to watch on TV, I know tidbits about their personal lives, I know some of their quirks and funky habits. And they know mine. But that's because over the years, they opened up to me, and I did to them...just as would happen in nearly any other relationship. But, it takes time. I mean, you don't blurt out certain things on a first date, and you don't blurt out certain things when you're still proving yourself to an editor. But once you've proven yourself (see above paragraph), DO take the time out to get to know them as people, not just drones who tweak your writing. Not only might this pay off in repeat assignments, even better, it might mean that you'll enjoy the process a whole lot more. I know that I adore working for the editors with whom I've become friends...and I'm pretty sure that they feel the same way.

Any other tips on nailing repeats from editors?