Special Events

The Writing Life: Selling Your Ideas and Making Writing Work for You"

By Jennifer Pullinger, WIW Member

You know you can write. The challenge is convincing editors that you can write and should be paid fairly for your work. That was the theme of the WIW’s October 29 day-long seminar, "The Writing Life: Selling Your Ideas and Making Your Writing Work for You."

The seminar, held at Johns Hopkins University in Dupont Circle , offered a crash course in becoming a published writer. The panelists told the group of both new and experienced writers that to succeed, you must not only carefully consider your pitch before attempting to sell an idea, but also know how to build on your initial successes to sustain yourself financially. The nuts and bolts event covered the related small details and big picture issues, from drafting query letters, identifying markets and promoting your work to understanding rates, contracts and copyrights.

Attendees asked the burning questions that perplex many struggling writers, such as how much to charge and what is "copyrightable." No stone was left unturned, including the real nitty-gritty basics such as whether a writer should query over e-mail and, if so, are attachments acceptable. With e-mail communication supplanting the telephone and old-fashioned mail, editors are finding e-mail the most responsive and least intrusive way to communicate with writers.

The seminar's first session focused on turning ideas into published articles. Panelist Meg Guroff, features editor with AARP: The Magazine, talked about the basics of good query letter writing ¾ format, ideas and content ¾ and what will sell an editor. Even though Guroff receives numerous idea submissions daily, above all, she said, don't be afraid to follow up after sending a query. Politeness and persistence go a long way.

Panelist Luba Vangelova, an established freelance writer who's written for the Smithsonian Magazine, National Geographic Traveler and the New York Times, told the group how she started her career by writing "obscure" newsletters, cold-calling editors and then lucking out and writing for Time-Life Books. Vangelova had a two-pronged approach to building her portfolio. She wrote small articles for higher profile publications, while at the same time writing longer feature articles for small, lesser-known publications. She recommended studying the publications you want to write for. Deconstruct the articles within to determine what made them successful. Understanding a publication's editorial mission is crucial when making your pitch. She also suggested reading How to Write Irresistible Query Letters by Lisa Collier Cool, which describes how to grab an editor's attention with a powerfully crafted and packaged idea. Vangelova emphasized the need to be succinct and targeted when querying publications, and, of course, be your story idea's biggest champion.

Moderator Mary Collins, a book author, journalist, and Johns Hopkins University graduate writing program instructor, stressed the importance of being savvy ¾ think of yourself as a business and know what you're worth. Check what you think are the going rates against the National Writers Union Guide to Freelance Rates and Standard Practice, and the "Pay Check" section of the American Society of Journalist and Authors' newsletter.

The second session covered rates, contracts and copyright. WIW Board Member Michael Causey moderated. Nina Graybill, an attorney and literary agent, described some terminology common to contracts, such as "independent contractor," "work for hire" and "indemnification"—words that at first glance are hard to grasp by the uninitiated and can be intimidating for new freelancers. The bottom line, she says, is obtain everything in writing and keep good records, especially for IRS purposes.

Robert Udowitz , public relations consultant, emphasized that when hammering out a contract that the editor or company you are freelance writing for usually expect you to quote a rate first. But to be fair, as was the message of the day, you need to know what the going rates are. For example, for nonprofit writing, your rate should be lower. In the for-profit corporate sector, don't shortchange yourself when working for a company that can pay you what you are worth, he said. But, Udowitz added, it's important to be flexible with your rates as well.

During the "Keeping Editors Happy and Other Tools of the Trade" panel discussion, Susan Baer, features editor for the Washingtonian, and Kathy Ely, editor with Chesapeake Life Magazine, described what makes an ideal writer-editor working relationship. At the top of the list, don't be difficult to work with, Ely said. Baer seconded that notion. She said it's fine to challenge the editor if you believe in your argument, but pick your battles. Don't quibble over every little edit or comma change. Baer added that communication is key, especially if you need time beyond your deadline to finish a piece.

Joseph Barbato , WIW president, and Ken Norkin, a freelance copywriter, talked about the evolution of their freelancing careers in the "Uh-Oh, You're Becoming Successful ¾ Is it Time to Quit Your Day Job?" panel discussion. Norkin said freelance writing is not for everyone. He encouraged people who are considering making the leap to full-time freelancing to think about their personal situation carefully and whether or not they believe they have the talent to be their own boss. Other factors include what your financial needs are and what your husband, wife or significant other thinks. For example, are they willing to take a household pay cut until you build up a stable, profitable client base?

Knowing the business side of writing, such as accounting and promotion, isn't the most enjoyable aspect of freelancing, but is necessary. Norkin said he marketed himself more aggressively earlier in his career, but doesn't anymore because he has a lot of repeat business. He recognizes, however, that he needs to be vigilant even as an established freelancer because of changing conditions among his clients. Barbato said that many freelancers have other sources of income besides the regular writing gigs that they prefer. One has to make a living, he said, whether it's "writing annual reports for Exxon Mobile" or other banal projects to supplement your income. He said that taking on the occasional low-paying job reviewing books or other fun writing projects could be a creative release.

After a dose of reality about the writing life, the seminar ended with a "town hall meeting" free exchange session. The audience offered constructive feedback about what they want to hear at future seminars, and the audience had the opportunity to ask any remaining urgent questions. Judging by the number of enthusiastic hands raised, very few were deterred by the challenges that freelancers face as described by the panelists.

Jennifer Pullinger is a freelance writer and book publicist. Launching author Rachael Ray’s national television career with the Food Network is among her greatest successes. Pullinger can be reached at pullingerpr@verizon.net.