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I recently read an essay by an author who earned out her $20,000 advance in two years, which is amazing. What does that mean? They paid her a $20,000 advance when the book was sold to a traditional press, which meant she received no royalties until her advance earned itself out with sales. She did it. A lot of writers don’t, by the way. https://electricliterature.com/my-book-earned-out-in-two-years-and-nothing-happened/ The problem is, she thought in doing that she would have done something. She would have become a household name and become someone that agents and editors were interested in for subsequent books. In fact, nothing happened. It was nothing but a spreadsheet note on someone’s computer ledger at the publishing house. Nobody, and I mean, nobody, is going to open doors for you. Few things in this business just happen without you having paved the way for it to happen. Opportunity happens to those who are fighting to be there when it happens. In this author’s case, she busted her butt to sell 11,000 books with a self-imposed goal of two years to earn out the $20,000. In the end, hoping someone would applaud her and and she’d somehow earn a reward. Nobody cared. More

My 17-year travel writing journey mantra is, “presell your travel stories before you visit your destination.”  Many travel writers go on trips without assignments. Then they’re faced with the uphill grind of selling their ideas after they return. I’m always surprised at this random approach, because it’s not good business. It’s difficult to sell stories after you travel. Instead, travel writers should snag assignment letters in advance. Additionally, I believe in preselling as many travel articles as possible. Here’s How to Presell Your Travel Stories Before You Travel  1.Select destinations that interest you. Destinations you’re passionate about will provide plenty of story ideas. You’ll enjoy doing your research before the trip, and the trip itself will be more enjoyable. I often turn down invitations for press trips to destinations that aren’t appealing. I know what I write best. 2.  Research your destinations.   Use the Internet and guidebooks to read about the place in advance. You’ll naturally generate, identify, and presell more story ideas. 3.  Remember where you’ve already published. Think, “Could I match up this destination with any of my outlets?” They already know your work. 4. Write query letters and fire them out to appropriate publications and websites More

By Orrin Konheim Considering I’ve devoted a significant portion of my life to writing about entertainment, I’m especially agog at the prospect of getting to meet a celebrity face-to-face (or on zoom or the telephone or whatever) and pepper them with questions. Even if I didn’t care about the cult of celebrity, interviewing a famous person pays off in numerous ways. The ability to get an article greenlit, to get page views on an article, or to up your profile are all enhanced with a famous name. Still. as a sensible reporter with a finite bandwidth to pursue my writing goals, I have to be pragmatic. If I see an actor like Nicholas Cage in a film and think “gee, I really want to interview him,” I think twice. Hollywood personalities are extremely busy with very narrow time windows. While high level celebrities give hundreds of interviews as part of their contractual obligations, they rarely have the desire to do more. Aim within your range and specialties. What dictates whether to invest the effort is my level of enthusiasm for the material and the demand for the interview. If you are enthusiastic enough about the subject, you might be able More

We put a lot of attention into being very visible through logos, brands, websites, and book covers. Rightfully so, to a point, because a bad first impression is pretty permanent, especially with all the competition out there. Introductions are important. We might want someone to be attracted to our bright lights and spin, but that isn’t what makes you a success. What is even more important is reputation. Do you deliver? How high is your repeat factor? Can you repeat that quality someone appreciated in your first book, that first article, that first gig? That’s where your stick factor comes from. That’s where you gain traction and create a name. When do you get to the point someone looks for you, by name, by title, by reputation? Seth Godin, American author and a former dot com business executive, says you want readers to focus not on the SEO search in finding someone like you (i.e., mystery author), but on the more precise human search (i.e., C. Hope Clark). Your goal is to have people looking for you, not something like you or looking for something like what you do. First and foremost, be the quality resource that people would seek. More

It took me many years to give in to the idea that I was a writer, and a few more to discover the secret to my success. The first happened for me on an auspicious occasion: passing the hours beside my husband’s hospital bed. He was on a respirator after a massive heart attack, and at the time the extent of his recovery was unknown. As I listened to the beeping and whirring of the machines keeping him alive, a lightbulb clicked on in my brain. If I wasn’t going to write now, then when? During his recovery, (his disabilities don’t limit his quality of life, thank goodness) I tried writing at home and found the environment full of distractions. Therefore, my first nine books were written via coffee shop hopping. This shop on Monday, that shop on Tuesday, etc. My virtual calendar worked like a well-oiled machine of lattes and iced teas. That is, until the pandemic hit. Suddenly, there were no coffee shops or public spaces to write. Without a home office or any private rooms, I was left trying to further my newly-chosen career between conversations about toilet paper and loads of laundry. My goals went from More

A website shows who you are, where you’ve been, and what you offer to make someone’s life sweeter. Many writers think that having published someplace validates them. Some think that promising the moon will entice someone to hire them. You’ve got to give them something to study about you, and without a website or a very solid social media presence, your promises to do a good job appear rather diluted. You need a website: To show that you take your writing seriously. To demonstrate what you’ve achieved. To show your efforts moving forward. To post examples of your work. A lot of writers think publishing an article is a one-way street, or that writing material for a client is just about the job. They believe that submitting something that ticks the boxes ought to work and merit payment. They hope that including a link or two where they’ve published before will work. You have to show your success. Why? The publication or client that hires you also wants to piggy back on your platform and your reach and your success. It is a two-way street. What if you’ve never published anywhere before? You can still have a website that shows More

Starting my freelance career writing for content mills instilled the mindset that I had to say yes to every job and put up with anything my clients threw at me. Now after three years, I see the benefits of saying no and the opportunities this can lead to. It was frightening at first, but here are the signs I’ve become familiar with, telling me when to ditch a client. The workload keeps expanding Being approached on LinkedIn by a client asking if I wanted to write dating articles was an ego boost. However, the workload went from writing articles with light research and inserting keywords, to extensive research, quotes and sources, and a complex system that even my client couldn’t explain. Despite the increased workload, the pay stayed the same. Each time they took longer to pay, and I gave them several chances, knowing delays can happen sometimes. However, I eventually ditched the client since they issued more work without addressing any of my concerns. I now had more time to send pitches and respond to opportunities, and I achieved my first by-lined articles and regular freelance work from a client who offered a rate I was happy with, as More

Magazines use regular “contributing” writers for many reasons. They love having writers already on board who understand the needs of the readership and the publication.. To ask a publisher to give you a chance is to say you don’t feel you are valuable enough to earn markets on your prowess. . . and it says you need a hand-up versus being a writer hired on skill. Instead, you need to polish your material and make it glisten, all in the vein of what that publication needs. And you learn how to do that by studying the publication. If they turn you down, it’s because of a zillion reasons, some of which include: 1. They have a stable of writers who don’t have to be groomed and who can speak the language. 2. They don’t have the energy to break in a new writer, or go back and forth teaching someone how to fit in. 3. They really don’t need writers at the time. 4. Your voice might be good but not quite what fits this particular readership. 5. The piece sounds too common, not unique enough. 6. You deviate from the guidelines in some fashion. 7. It is clear you More

When you write and publish, whether an article or a book, the reader wants to walk away from the reading with the knowledge they were educated or entertained thoroughly. The experience should be memorable. A lot of writers make the mistake of thinking that writing in quantity or just getting the grammar correct or just relaying the topic, are the goals. FFW receives so many mediocre articles from people who think that a list of suggestions on how to write, how to win a contest, how to publish . . . lists like they’ve read on the web a thousand times, is writing. No voice. No originality. Just ticking off boxes on guidelines. Readers value their time, and once they’ve decided to invest their time into reading something you wrote, they want to feel like the time was well spent. That’s why I’m against the oft recommended advice of reading bad and good works. Sorry, I only want to be immersed in the good, thank you. My time is limited. The reader should feel like they made a good choice, a valuable selection. Your job is to provide top quality material so that enough readers are thankful for what they More

Years ago, I was a freelance writer who had run the gamut regarding content mills. I was overworked, underpaid, and something in me kept saying that I deserved better. Working for $0.03 per word didn’t pay the bills. After hundreds of Google searches, I found the method to the madness was pretty easy. I had to scour three job boards; Pro Blogger, Blogging Pro, and Freelance Writing Jobs, and pitch for better-paying jobs. This is where other freelancers said they made it, and I was ready to try just about anything to get ahead. New Challenges As I made the resolve to succeed, I spent my days and nights weeding through these job boards. For the first time, I came across decently paying writing jobs by top-tier companies, quite a nice change of scenery. While I had the experience, one requirement proved consistent; the need for a virtual interview through Skype or Zoom to finalize the process. For instance, this is a message I received from Quoko Studios after my application went through: “Our hiring team has reviewed your application, the next step is a skills assessment. If you pass, we’ll invite you for a short zoom interview and make More