By Carol Tice
Back when I first started out as a freelance writer, it was tough to find writing jobs. I’d either have to look in a physical copy of the Writers Market, or get in my car and go down to the library and get out the Gale’s guide to research possible article markets.
Next, I carved my articles on a rock…OK, I’m not that old, but there was a lot more legwork involved!
Nowadays, you can see lots of writing jobs online without moving from your living room. The catch is, most of the job ads you see online are a big waste of time for anyone who’s serious about making a good living from writing.
They’re no substitute for in-person networking, asking current clients for referrals, cold-calling copywriting prospects, or any of the other tried-and-true methods of finding good clietns.
The key is to save time and not waste hours online looking at job postings.
I’ve developed some rules for cutting through the junk and only responding to what seem to be viable, good-paying clients.
I’m pretty selective about who I take the time to develop a submission letter for. I try not to spend more than a half-hour a day online job-hunting.
My rules:
1. Skip the scams. Avoid anything that contains phrases such as “you’ll get good exposure” or “we pay on revenue share” or “pay for page views.” None of these pay anything that will even buy you a gallon of milk.
2. Skip all Craigslist ads. Especially the sketchy, two-line ones. The vast majority of Craigslist posters are either scam artists outright, nightmare clients with only a vague sense of what it is they actually want, or $10-an-article types.
3. Skip all “lots of topics,” “we need lots of writers” or “pick your own topics” assignments. Any ad that says they need lots of writers to write about lots of topics is unlikely to pay much. These are generally content portals where they make a fortune putting ads against your content, while they pay you nothing. If you can write about your dog, well, anyone can do that. So it’s not going to pay much.
4. Skip ads that ask for a sample article. These are all scams — they just take the sample articles, rip them off, post them, and don’t hire anyone. Or even if they do hire someone, odds are low it’ll be you. If you already have two clips, you don’t need to enter any of these article ‘contests.’
5. Skip anyone who says they pay by PayPal. Some may disagree with this one, but I consider this the hallmark of low payers and bogus companies, particularly U.S.-based ones. Any real company can write you a check, or use auto-deposit and toss that payment straight into your account. The reason they use PayPal is they’re planning to pay you $1.95 and want to save a stamp, as it would substantially increase their total expenditure! If they’re going to pay a substantial amount and it’s an ongoing account, you stand to lose hundreds of dollars of income in fees over the course of a year getting paid on PayPal, as they charge fees up to 3 percent.
6. Skip any ad that doesn’t tell you the company name or Web site Blind ads are a hallmark of scammers. Sane, functional companies tell you where to find them online so you can research them and send them an appropriate query with relevant clips. Those are the ones I want to work for.
7. Skip any ad you see frequently. If this ad agency, company, or Web site is constantly advertising, there’s a reason. They are probably a nightmare to work for, or pay nothing. I’m looking for people who are a pleasure to work for, and pay well.
8. Target ads that ask for your specific expertise. For me, when an ad says applicants must have extensive experience in business reporting, financial, real estate, legal, tax, accounting, insurance or public-company coverage…they have my full attention. Niche expertise pays better. I’m probably going to send these folks a query.
9. Know when to break the rules. Sometimes, an ad will catch your eye even though by all the rules above it should be skipped. This happened to me a couple of times with Craigslist ads. Ordinarily I would automatically skip…but before I could hit the “back” button, I started to read the ad, and it asked for deep small-business newspaper or magazine experience. Which I have. The company listed their site so I could research what they needed.
I sent one a query and landed a two-month project worth several thousand dollars, which may lead to ongoing work…my first ever good-paying job off a Craigslist ad. I’ve since landed a couple of other solid clients through Craigslist.
So rules are good most of the time, but remember to keep your mind open a crack for interesting exceptions to the rules.
By Angela Atkinson
Before I became a full-time freelance writer, I lived in the corporate world. While I made some business decisions, mostly I carried out the decisions of other people. And, though I did some negotiation, it was always within the confines of the standards the company had laid out for me in advance. So, when I ventured out on my own and had to start making deals without these pre-set standards, I often floundered and ended up getting the short end of the stick.
After arranging a meeting with a client who proposed a big project, I knew how I wanted to pitch the project itself, but I was really intimidated by the negotiation process. In fact, I almost felt guilty asking the client to pay fair market prices—even though I knew that my work was worthy of at least that much.
I approached Carol for a little advice on the negotiation part of the meeting, since she was clearly an expert on the topic. She was happy to help, and not only did I successfully negotiate the contract, including the highest rates I had been paid up to that point, but I held on to Carol’s advice and have used it in every contract negotiation since.
So what did Carol teach me?
I had this idea in my head that I needed to undercut the competition in order to successfully pick up clients and projects. What Carol taught me is that I must set and maintain my own business standards, and that I should not accept projects that pay below my “bottom line” prices (which, conveniently, I could set at whatever I liked—within reasonable market prices, of course.) This made it easier to negotiate, because like before in my corporate job, I had pre-set rates to work with.
Before I met Carol, the idea of turning down work turned my stomach a little. What if I turned down a project and then no other ones came my way? What if there was some underground client network and they reported me as someone who refused perfectly good jobs?
Carol taught me that it’s ok to turn down a project that doesn’t meet my standards in any way—whether it‘s because the project pays too little or because it doesn’t feel right in some other way. And, she taught me that there’s always another gig around the corner.
While I knew that I needed to ask clients questions about their projects so that I could understand exactly what they wanted, Carol gave me some pointed questions to ask that would help me to better negotiate my rates. The best one?
“What is your budget for this project?”
With this simple question, I can get a feel for what the client expects to spend on my services. (Of course, sometimes they ask “Well, what do you charge?” In that case, I just quote them my top level rates and work from there.)
And another favorite Carol-ism is this one, used when a client refuses to pay reasonable prices:
“I understand that you don’t have the budget for a professional writer just now. Feel free to contact me again when you do.”
By nature, people are wired to “fill” silences in conversation. So, Carol said, once I quoted my price in a meeting with a client, I should keep quiet and let him speak first. Before, I found myself sometimes quoting lower prices if the client didn’t respond right away—because I thought the silence meant the client wasn’t happy with the price I quoted. In fact, when I learned to shut up for a minute, I found that most clients will either accept my price or come back with a reasonable counter-offer.
Turns out, when you quote crazy-low rates, many clients are turned off because they figure that you’re not a professional and that you don’t think you’re worth any more.
The fact is that if you’re willing to hustle a little, there’s plenty of freelance writing work out there. You don’t have to accept crappy gigs just to get paid. Take a leap of faith, set your rates and stick to them. If your work is strong and your customer relations skills are sharp, you’ll find plenty of work—and you’ll get paid what you’re worth. Personally, when I started employing this rule, I found myself nearly overwhelmed with legitimate jobs.
Before, I felt like I needed to be sort of “humble” about my abilities and my pricing, and I’m sure that clients could see and feel that during a negotiation. Now, thanks in part to Carol’s coaching, I recognize (and acknowledge to clients) that I have a valuable service to offer—and I very openly explain to them why they want to hire me for their project.
Thanks to Carol, my negotiation skills are ever-improving. Negotiation success lies in understanding that you’re offering a valuable service, not being afraid to quote and stick to competitive market rates, and in feeling confident enough to walk away if the client is not willing to pay a reasonable amount. Plus, to achieve a successful negotiation, it’s imperative to fully understand what the client expects from you so that you can accurately determine your quote prices.
Angela Atkinson is a freelance writer and editor, as well as the co-founder of The WM Network. Learn more about Angela at her website.
By Carol Tice
There are so many types of writing gigs out there, it can be confusing for new writers.
Which are the best opportunities to pursue? This is one of the questions asked me recently by budding freelance writer Barry. He wrote:
I am currently about to finally get my degree in business finance, but I was a journalism major when I first started college years and years ago. I have been in real estate and financial services for years now, but really looking for a new lease on life and never let go of the writing bug. I do have a financial blog that a started [up] again just this week and now I want to take it to another level.
There seems to be so many opportunities out there, but how do you land them? Which ones are the best to go after and what are the ones to stay away from?
Is it best to work for one entry-level type job at a company (kind of captive to them I would say), or is it best to stay freelance? It all seems a bit confusing and I just want to focus on the things that will be fruitful and not so much on anything out there that will be a waste of my time.
There are so many opportunities out there, Barry! It’s not your imagination. And as the economy recovers, there will be even more.
How do you land them? First, you find them — by networking, trolling online job boards, cold-calling, knocking on doors. Once you’ve found opportunities, you land them by auditioning for them.
How can you audition for gigs? Many ways.
Send writing samples.
Send copywriting samples.
Send your resume.
Send a link to your blog.
Pitch story ideas on the phone.
Or build your blog audience, find advertisers for your blog and earn that way.
Which are the best kind of writing gigs to go after? The kind that are really well-suited to your writing experience, life experience, and interests.
When I work with my mentees, this is basically what we focus on: What have you written before? Where have you worked? What types of writing do you like best? What industries did you find fascinating? What hobbies do you love?
Once you’ve answered those questions, you can seek out publications or companies that are a fit for you. Notice I said “seek out.”
Yes, that’s right. You are the driver of your writing-career success. You will need to aggressively market your writing services to make a living.
You can avoid being overwhelmed by all the possibilities by focusing on writing opportunities that make sense for who you are. Don’t randomly apply to every writing gig you see. Pick a couple-three niche areas and focus on them.
If you don’t get results in a few months, try a few other niches that also relate to your experience and interests. But trust me, if you have a real-estate and business-finance background, you’re far more likely to find writing opportunities that have something to do with those fields than you are to find lucrative writing jobs about healthcare or horse grooming. If you love white papers, don’t apply to blog.
Why? Because when you do what you enjoy, you tend to do better. And better clips mean better future gigs.
Which are the types of gigs to stay away from? Writing assignments that pay slave wages — $10 a blog…you know the type. Avoid, avoid, avoid. Writing assignments you’re not interested in and eager to write. Also avoid.
I wish I could give you a magical answer to how to break into writing without wasting your time. But here’s how you’re going to find out what types of writing you like, can get gigs in, and pay well enough to be worth your while: Trial and error.
Sometimes, you’ll try to go in a writing direction — for me last year, that was trying to crack the business-plan writing market — and it just won’t pan out. So you’ll try something else. Lather, rinse, repeat.
You can create a shortcut by focusing on what you’re best qualified and suited for, but you’re still going to have to experiment to find where you fit.
As far as full-time versus freelance…right now I’d say that full-time writing jobs are in very short supply. The woods seem to be full of laid-off journalists. But by all means, if you need the security of a steady paycheck, look for a full-time gig — or maybe a job within your fields of experience that involves some writing, and could serve as a bridge into writing as a career.
But as a brand-new writer, freelancing may be a better way to go because there’s less deadline pressure and you can learn at your own pace.
Are you ready to come up with three or four great story ideas, report the stories and file them, each and every week? Or crank out polished white papers in short order? That’s the typical workload of a staff writer. When I started, it took me about six weeks to write one feature story! I would have washed out as a staffer.
To sum up: Look in the mirror. Who are you as a writer? What do you need financially? Answer those questions, and there’s your answer for how to become a freelance writer.
By Carol Tice
After starting out as a freelance writer, I got two staff jobs. I worked the first one for five years, then at a business weekly here in Seattle for another six and a half.
But after all the editors who’d hired me there left, the party was really over. By fall of 2005, I was ready to try freelancing again.
Only unlike when I was starving teen songwriter, the stakes were higher. I had three kids! And my husband wasn’t earning so much since our move to Seattle. I really needed to replace my full-time writer salary through my freelance work.
Here’s how I did it:
1. I had a couple of small freelance gigs I’d done on the side while working my full-time job. One was writing for a sister publication to the trade-pub I’d worked for, and they paid quite well. These became my initial earning base.
2. I called all the companies I’d covered at my business-journal job. I wasn’t looking for work, I just wanted to say hey, thanks for the memories, and the help, and for being a great source. To my surprise, several of them referred me work! One of them asked me to ghost-blog for him and write some advertorial articles for his company’s Web site. I hardly knew what a blog was back then, but I gave that a whirl. I didn’t know it yet, but that blogging skill was going to come in real handy.
Without hardly realizing it, I had become a copywriter. Once I figured out I was a copywriter, I started learning more about copywriting from Peter Bowerman’s Well-Fed Writer e-newsletter, and from others. Soon, I had a $1 billion private company as a copywriting client. I started to make more than I had as a staffer.
3. I networked with previous editors, including those ones I loved back at the business journal. They connected me with The Seattle Times and other publications that became major new accounts for me. When those editors went to new publications, I connected there, too.
4. I learned how to work the online job ads, only taking the time to target ads that were really perfect for me. This paid off in some great new clients. In-person networking at Media Bistro events in Seattle paid off well, too. I learned which events worked for me and which were a waste of time.
5. I turned every new article assignment into an ongoing relationship. When I turned in stories, I was always ready with more pitches. So I got more assignments. If a publication I wrote for was a sister-publication to other magazines, I wrote for those, too.
6. I thought big. When I ended up interviewing the editor of a national magazine for a local Seattle publication, at the end of the interview I just flat-out asked her if her magazine was looking for freelancers. I’ve probably earned more than $50,000 over the past five years from my willingness to ask that one question! I connected with her publication and was soon getting $2,000 article assignments.
7. I never stopped marketing. I found new networking forums to belong to, I went to Chamber of Commerce events, I checked online job ads, I asked around. Even when I’m fully booked, like I am now, I never stop sending queries and resumes out.
Some lessons here for other writers contemplating going freelance:
Start freelancing before you leave your job, so you have a base.
Tell everyone you know you’re freelancing.
Be willing to try new types of writing.
Get advice.
Never stop marketing.
Don’t waste time online.
Be brave.
Aim high.
I read the most amazing article the other day, about the tragedy of parents who forget their babies in their cars, and they die of the heat — and whether that should be considered a tragic accident, or a crime. It won the 2010 Pulitzer Prize for feature writing for Washington Post journalist Gene Weingarten…and I could not put it down.
Weingarten clearly invested huge amounts of time in the story, interviewing several devastated families that had lost a child, listening to 911 and police-interview tapes, talking to memory experts and lawyers. The result is haunting and unforgettable, and may change laws.
Reading this story was a great reminder for me of why I got into writing — to enlighten and make a difference. To write articles that are truly memorable and meaningful.
As freelance writers, everything we write can’t fall into this category. We’ve gotta earn, gotta keep that hourly rate up.
But I still occasionally do big, investigative stories, for three reasons:
Recently, I tackled a research-based story on how much stimulus money my state got, and where it went. Previously, I’ve written investigative pieces on a care center for babies born drug-addicted, my state’s lax drunk-driving laws, and the plight of older foster children.
Several of these feature stories have won prizes over the years. I say this not to gloat, but to make a point: Prizes can help your writing career. I recommend you get the Writer’s Market, take a look at the hundreds of contests in there, and make a plan to enter a few you think you could win.
Why are prizes important? Two reasons — they’re great for your self-esteem, and they impress the heck out of prospective clients.
A couple of years ago, I got the idea to create a short awards page on my writer Web site. I couldn’t believe how the quality of my prospects improved after I did this!
I just list my most recent few awards, which are a few local Society of Professional Journalism awards and a “Best in Business” award from the Society of American Business Editors and Writers (SABEW), plus a few publisher awards from my staff-writer days. Hardly the Pulitzer. But in every pitch letter or resume cover letter I send out, I can say, “See my list of awards won on my Web site.”
And that has made all the difference. While I hear many writers complain they never hear back when they send out resumes, I often do. I often hear back that same day. And I’m convinced the “see my awards” line is a big reason why.
Prizes are powerful, and a list of prizes — no matter how minor — is even more powerful. Prizes make you feel successful. They greatly enhance your reputation. At some publications I’ve worked for full-time, they held annual planning meetings about what awards the reporters should aim for that year.
I felt like a movie star last week when the contest site Awarding the Web told me my Make a Living Writing blog had made their 2010 Top 40 Freelance blogs list. Being on this list puts me in company with sites I really admire, including Freelance Folder, Poe War, Angela Booth’s Fab Freelance Writing blog, The Well-Fed Writer, and Writer Beware, among others.
Added bonus: I got a fun little award widget to put on my blog. Winning prizes is a kick, no matter how small the prize.
So go out there and be amazing. Write the hard stuff. Win prizes. And watch your career soar.
This post originally appeared on the WM Freelance Writer’s Connection.
By Carol Tice
Here’s the story of how I became a freelance writer. It happened in L.A.
In the beginning — like when I was 14 — I was a singer-songwriter. Banging away on my parents’ black baby grand, scribbling lyrics in notebooks and taking them to school to throw out so my mom wouldn’t read my rejects out of my trash. I dropped out of college halfway through to hang around Hollywood Boulevard and go to songwriting workshops, where I eagerly awaited a chance to have my work shredded by my peers.
Songwriting involved starving. It cost money to pay band members, to rent halls, to promote my group. I needed a day job, so I worked as a secretary at movie studios and talent agencies. There, I learned to stay calm and poised while movie stars asked me questions, or big agents barked orders. I learned to have a snappy comeback. Eventually, I started my own script-typing business, feeding off my show-biz connections, and worked for myself.
Around the time I was nearing 30 — the age at which songwriters have to ask themselves whether they’re up for a lifetime of this starvation or they want to move on — the alternative paper L.A. Weekly was celebrating its 10th anniversary. So they had an essay contest.
It was like they created it just for me. I had moved back to L.A. to pursue songwriting ten years earlier.
So I wrote an essay about what coming to L.A. to be a songwriter was like for me and my friends — namely, like slowly being crushed between two large rock walls. They printed it and paid me $200.
I pretty much never looked back. I had discovered a kind of writing where you got paid. And didn’t have to worry about whether the drummer was going to decide to take psychedelic mushrooms and the overnight party bus to Vegas to put in 12 hours at the blackjack tables instead of showing up for the gig. I literally called friends over and handed them my four-track recorder and my microphones and said, “Here — take this stuff away. I don’t need it anymore.”
Writing prose was empowering. I didn’t need anyone else to do it! I could execute this all by myself. I had all the intruments I needed inside my head. I thought it up, I talked to people, found facts, worked on it, went down to the mini-mart on Thursdays, and boom, there’s my name.
Wow! I was a byline junkie from day one.
From there, I got another assignment from the Weekly right away. But then I took a third assignment I got in over my head on, and bombed.
I then pitched their rival, the L.A. Reader (now dead) about some protest I was going to. I ended up writing for the Reader for years, reviewing books, writing cover features for $300, community news for $50.
All the time learning, learning, learning. I’d haunt my editor’s office, latest issue of the paper in hand, saying, “I noticed you changed my first sentence from this to that. Why?” I got better. I wrote faster. I started to earn more from articles, and type scripts less.
Soon, the Los Angeles Times had a contest in the real-estate section. They wanted do-it-yourself fix-up stories. Again, tailor-made for me — my husband and I had just spent several years camped on our living-room floor fixing up our charming hovel in Culver City. I wrote a humorous, “our hearts were young and dumb” tale of our remodeling mistakes.
I won, they printed, I got paid. The editor there said, “You’re funny! I want you to write for me all the time!”
I’d been writing prose for about nine months, and I was writing for one of the largest daily papers in the country.
I was massively intimidated, felt hugely inadequate, and as a result it often took me six weeks to write a feature for them. But my editor put up with it and took the time to mentor me, because my writing was fresh, and honed, and really brightened up their section covers. And I was willing to work hard, beat the street, and find great stories.
Around this time, it started to dawn on me: I am a freelance writer.
Maybe I should take this freelance writing thing seriously! I love this, and it could be a career. So I took some classes through UCLA Extension in journalism, magazine writing. I learned more. I got better gigs.
One day, my husband said, “Why don’t you stop typing scripts and just write articles?” And I did.
Not long after that, he was losing his job, and I applied for this weird full-time writing job I saw advertised, for a trade publication based in New York. They looked at my Reader covers, my L.A. Times covers, they gave me a writing test, and told me of 24 writers they auditioned, I was the only one who wrote something they could publish.
The job paid $45,000 to start. And so began my 12 years as a staff writer, in which I learned many new skills, filed three or four stories every week, and laid the ground work for my second stint as a freelancer, which began in 2005.
Looking back over this, I see some defining points to why I was able to build a successful writing career, basically from scratch. I think these traits would be helpful to anyone looking to get into freelance writing.
1. I didn’t develop a lot of writer insecurities, because it didn’t dawn on me that I was a freelance writer. I was just having fun!
2. When I hit roadblocks, I immedately looked for a workaround. It never occurred to me to stop because of one “no.” I liked being published too much!
3. I was willing to study my craft, both with my editors and by going back to school.
4. I got a lot of positive early feedback that encouraged me. I entered two contests, and won them both. This made me feel, “I must be good at this!”
5. I looked for opportunities that were a great fit for my background.
6. I developed a thick skin early on and was open to criticism of my writing.
7. I had run a home-based business before, so I had some knowledge of the hustle and administrative skills required to make that work.
When writers think about pitching magazines, many tend to just think about well-known newsstand magazines. But there are a lot of hidden writing opportunities at magazines and other periodicals.
I first got exposed to this hidden world when I got an opportunity to write $1-a-word advertorials that went in a trade publication I was working for as a staff writer. It was news to me that I could write those, too! That became a nice little side income for several years.
Over the years, I’ve discovered many national magazines are merely the best-known flagship of a larger enterprise. Many publications sell annual guidebooks, subscriber-only bonus issues, or they put out books of lists that may need freelance articles.
Some magazines don’t just have the flagship pub — they have additional magazines that aren’t as well known. Entrepreneur, for example, also publishes a newsstand-only quarterly, Entrepreneur StartUps!. And the company also publishes business books. They buy online-exclusive articles and have a blog, too. I’ve written for all of those except the books arm, adding many thousands of dollars in revenue beyond what I would have earned if I’d just stuck to the main magazine.
Some publications have college editions that include special content for students. For instance, some years back, I wrote an article for a college edition of the Wall Street Journal. AARP has its magazine, but also a newsprint bulletin.
Regional magazines may be owned by a corporate parent that publishes similar magazines in other markets, to which your article might possibly be re-spun and resold for an additional fee. For instance, Tiger Oak, for whom I’ve written at Seattle Business (which led to writing for sister-pub Seattle Magazine), also publishes five bride magazines in different markets, and eight regionals in the meeting-and-events niche. Get in the door with one of those, and that could allow you to rework and re-source stories to quickly resell them to sister books that come out in other cities.
In this age of consolidation, many publications are part of a publishing family. Conde Nast, for instance, has about 30 magazine and online properties, and several trade publications as well. Once you’ve written for one book in a family, it’s often easier to get a warm referral to an editor at another.
After I wrote as a staffer for one trade pub that covered a niche in retailing, and later freelanced regularly for a sister pub in another retail niche. The editor there knew my name and the awards I’d won during my tenure, and was thrilled to have me write for them, too.
When you’ve scored an assignment from a publication, don’t sit back and think “I’ve arrived!” Instead, think of it as a starting point in your relationship with that organization.
Once you’re in, start looking around and see if you can discover other pieces to their little publishing kingdom. Ask your current editor about the organization’s other writing needs. You may discover lucrative new writing opportunities. You’ll have a leg-up on getting assignments, and usually, these more hidden parts of the beast get fewer pitches, upping your odds of success.
By Carol Tice
I never signed anything with the client I did the manual for. Would it be legal for me to put a few pages of it on my author site? And what about selling the same manual basically to other clients?
This post originally appeared on the WM Freelance Writer’s Connection.
By James Adams
Freelancing can be compared to looking at the menu at a sushi bar — there is plenty of variety in which one may indulge. A freelancer lives each day working on many different projects at once and may find solace in proven techniques to effectively manage their time.
Everybody has a different habit of work that they follow, so it can be a great help to have access to a simple and free time management application. If you find yourself missing deadlines a few too many times, get yourself organized by using one of these top tools for time management. All of these tools are free or have free trials, and they all work cross-platform.
Working as a writer at an ink cartridges store in Manchester, U.K., James Adams has written everything including product reviews, trend stories and news releases for their design blog.
By Carol Tice
This is the story of the greatest freelance writing gig I ever turned down.
I met an editor at a MediaBistro networking event who develops online content for a very large software company. Based here in Seattle. Yeah, that one.
In shmoozing him up, I discovered that he was best friends from childhood with one of my past editors…an editor who’d loved my stuff. He also knew another beloved editor of mine as well. To sum up, he was my dream prospect!
He didn’t have anything immediately, so for once I did a really good job staying in touch and following up.
Then, he finally called me with an assignment. He needed someone to write a half-dozen articles, one a month, over the next six months.
The catch: It was on a brand-new version of one of their software programs. Hmmm…I’m not much of an early adopter, so I wasn’t using this new program yet. Small, dim alarm bells began to chime in the back of my head. But I was so psyched to work with this client!
We investigated a little more, and discovered the program doesn’t run on Macs, which is what I use. I’d have to buy a computer to do the gig!
My husband was in favor of buying the new computer and taking the gig. But he’s always in favor of buying new toys.
At this point, the alarm bells were louder. In reality, the assignment would be for me to buy and break in a whole new computer AND software, and quickly become an expert in using it so I could write about it. I don’t ordinarily write a whole lot about tech.
I was starting to get the ugly, real picture. I wasn’t actually a fit for this gig.
If I took it, I’d stand a decent chance of sucking at it. And that is the one thing I don’t ever want to see happen. The last thing I need is to disappoint a client at a major corporation.
So I passed.
My hope is another assignment may come along from this client that’s a better fit for my background, which is mostly writing about a range of other business topics. Maybe I’m nuts and should have bought the computer and given it a whirl. But my feeling was the huge ramp time that would be involved to essentially acquire a whole new expertise area probably would have meant I earned less net in the end, as I’d have less time for other clients.
I’d also run the risk of alienating an editor and never getting any future assignments from him.
The whole experience was a reminder to me that writers need to not jump at every offer that comes down the pike, no matter how great they may sound at first.
Ask yourself, “Is this assignment really me?” I try to stay with assignments where I can answer that with an enthusiastic “yes.”
