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Meta post: my webinars, classes, blogging schedule — welcome new followers!

In behavior, blogging, books, journalism on August 25, 2014 at 11:41 am

By Caitlin Kelly

I learned how to canoe at camp -- useful when we went to Nicaragua

On assignment this year in rural Nicaragua

Just a few housekeeping notes, for followers both longtime and new (thanks!)…

For the past five years, I’ve been posting faithfully three times a week, sometimes more.

Pooped! (Hint: please spend some time poking around the archives, where you’ll find plenty of material, often on books, writing, publishing and freelancing, often titled The Writer’s Week.)

For the nex few months I’ll likely be posting once every four or five days — not every two days — as I’m now teaching three college classes and will be spending a lot of my time preparing for them, teaching and grading students’ work.

So please don’t feel neglected and/or abandoned!

I also offer six webinars on various aspects of writing, blogging and freelancing, details here. They cost $125 for 90 minutes via Skype or phone and satisfied students have come from, literally, across the world — New Zealand to Germany.

I can schedule these any time that suits you, including days, evenings and weekends.

I also coach other writers individually, answering pretty much any question you’d like to throw at me about journalism, writing, publishing non-fiction commercially, memoir. Happy to read your pitches or work-in-progress, be a “first reader”…

I charge $150/hour (with a one-hour minimum), and will be raising that rate to $200/hour in January 2015.

My story in July 2014 Cosmopolitan (U.S. edition)

My story in July 2014 Cosmopolitan (U.S. edition)

I’m teaching writing this fall at Pratt Institute in Brooklyn and at the New York School of Interior Design; I have also taught writing at Pace University, New York University, Concordia University and Marymount College. As the author of two well-reviewed non-fiction books and hundreds of newspaper and magazine articles, for places like The New York Times, Cosmopolitan and Marie Claire, I know what it takes to succeed in this highly-competitive business.

What can I do to help you? Please email me at learntowritebetter@gmail.com.

I don’t want you to ‘pick my brain’!

In behavior, blogging, books, business, education, journalism, Money, photography, work on August 6, 2014 at 3:10 am

By Caitlin Kelly

Will you share your secrets with me?

Will you share your secrets with me?

Here’s an interesting issue — when (or not) to let someone seeking work-related advice to “pick your brain”. Without charging them for your time and expertise.

From the New York Post:

“When people are self-employed, you absolutely need to think of how you’re spending your time,” says executive coach Mike Woodward. “That said, charging for the occasional mentoring service is a slippery slope. It’s one thing to brand yourself as a consultant if that’s what you want to do, but monetizing mentoring could become a distraction from your own career goals.”

But call the concept “consulting” and all of a sudden it makes sense to charge.

It’s one thing to brand yourself as a consultant if that’s what you want to do, but monetizing mentoring could become a distraction from your own career goals.

 – Mike Woodward

The eponymous creator of Anne Chertoff Media, a boutique marketing agency that caters to the wedding industry, found a similar niche.

“I honestly got annoyed with people taking me to lunch and thinking that the cost of a meal could equal my contacts, expertise and advice, so I created a service called ‘Pick My Brain’ on my website. For $500, I give 90 or so minutes of whatever advice the customer needs,” she explains.

We’ve got two competing impulses — the urge to be generous and helpful to others, which reflects our better nature and realizes that other have done this for us, likely, along our own path.

But in an era of $4.05 (yes, here in NY) gallon gasoline, when my weekly grocery bill has literally doubled in the past few years — and when my industry is offering pennies on the dollar for the most skilled among us, what’s the upside?

Time is money! You take up my time, without payment in any form, you’ve cost me income.

And some skills take decades to hone and sharpen. Anyone who thinks that “picking my brain” will vault them into The New York Times is dreaming; I’ve helped one fellow writer get there because she deserved it.

So I bill my time at $150/hour for consultations and individual counseling. I’m going to raise it in 2015 to $200 an hour.

But…didn’t a lot of people help me? Frankly, not really. A few, yes.

I have mentored many other writers and am, very selectively, still happy to do so.

But when and where and to whom is my choice. In my younger and more idealistic days, I assumed that my generosity would be reciprocated, even thanked. Wrong!

Now I’m too busy funding my own basic needs, and a retirement. I can’t afford to give away hours of my time. It is what it is.

The people I choose to mentor are: bright, highly motivated, say thank you, follow through quickly, and don’t argue endlessly with my advice, (they can ignore it, but arguing feels rude to me.) They do whatever they can in return and, I trust, will share their good fortune with others as well.

Do you let people pick your brain?

Do you ask others for this?

The freelance life: hustle or die!

In behavior, blogging, books, business, journalism, life, US, work on July 29, 2014 at 1:40 am

By Caitlin Kelly

My story in July 2014 Cosmo!

My story in July 2014 Cosmo!

A recent survey by the Freelancers Union is interesting — the New York-based group asked 1,100 people what they think of their freelance life — 88 percent said they would not even take a full-time job if it were offered to them.

How do we know? Our new report we’re releasing today, “How to Live the Freelance Life — Lessons from 1,000 Independents (PDF)” surveyed more than 1,100 freelancers nationwide about their work, money, lifestyle, and values.

The report offers a remarkably clear portrait of America’s fastest-growing workforce.

The biggest takeaway: Nearly 9 in 10 independent workers (88%) would keep freelancing even if they were offered a full-time job.

With that level of freelancer pride, no wonder freelancing is booming. Half the workforce may be independent by 2020. Freelancers Union’s own membership is up 410% since 2007 — and the number of millennial members has surged 3000% in that time.

Here’s a useful 11-point checklist for those hoping to try the freelance life, by writer Laura Shin.

One of the things I find intriguing about freelancing full-time is how differently we each do it.

The basics — earning reliable income every month — never change. We pay the same prices for gas and groceries and clothing as people with paychecks — who may also get raises, bonuses and commission.

But editors sometimes kill a story and sometimes for capricious reasons, which costs us income; it grabbed $3,000 out of my pocket in the past nine months. Not fun!

We only get what we  negotiate.

I read Laura’s list and I don’t do several things she does:

– My only time measurements are a calendar and the clock, not the cool and efficient apps she and others use to track their time and rates.

– I use a line of credit when people pay me late, or stiff me, instead of relying on short-term savings, (although I usually keep six months’ worth of expenses in the bank for emergencies.)

– I also have no regular monthly gigs, so I start most months with no idea what I’ll make. I have to pull in $2,000 just to meet each month’s expenses — anything after that buys haircuts, clothes, entertainment, vacations. Nor does it cover costly surprises like last month’s $500 car repair bill or last year’s $4,000 (yes) replacement of the head gasket.

It’s also very difficult now to pull $4,000+/month within journalism when most digital sites offer $300 to $500 for a reported story so I seek out print markets paying $1,500 per piece or more instead.

The ideal, for me, is a $4,000+ assignment I can lavish a few weeks’ attention on exclusively but which also allows me some time for marketing smarter, deeper stories just like it. I dislike jumping constantly from one thing to the next, even though maintaining cash-flow  — i.e. a steady supply of payment — demands it.

Unlike Laura, I have a husband with a good job and steady income; he will also have a defined benefit pension, which reduces our need to save quite as aggressively for retirement. (We still do it anyway!)

Here’s a powerful and depressing story from The Wall Street Journal (aka capitalism’s cheerleader) about why Americans are unhappy with work/life balance — as they have so little of it!

And another story about why so many employers are choosing to hire freelancers.

Ellen, a new Broadside follower, writes here about why she quit her job to go freelance — doing data entry — and is loving her new freedom.

And this, from The Guardian, about the absolutely desperate financial reality of being an author — only 11.5 percent of whom earned their living solely from writing. Their median income? A scary 11,000 pounds — or $18, 826 — which actually sounds high to me!

This New York Times piece — about how much freelance writers really make —  got a lot of traction:

That answer may be not be as much as some might hope, at least at the outset. Ms. Dieker, who also posts her monthly freelance income on her Tumblr, says that she’s hoping to make $40,000 gross this year, but that other freelancers routinely ask her how she manages to make that much when they’re bringing in much less. She also notes that she’s making a lot more than when she started out: “Like any other career, you grow it.”

I’ve had staff jobs and enjoyed them. I’ve had colleagues and enjoyed them. I do miss a steady, 100% reliable paycheck.

And I have yet to earn the equivalent of my last staff salary. I’m not sure I ever will, much as I try.

But you also get used to making your own schedule. You get used to seeking out clients you enjoy, not tolerating and sucking up to your coworkers or bosses, at worst, just to stay employed.

And watching so many journalism staffers lose their jobs? Not cool! When freelancers lose a client, and it happens, we just go find another one, or several.

Freelancers, as the survey proves, cherish our freedom to manage our time; while writing this blog post I also had time to make soup, marinate salmon for dinner and do a little light housework. My husband was working from home that day, so we also had some time to chat and enjoy lunch together.

I started my workday at 7:30 a.m., wrote and filed one story; started work on another and cold-called an editor I’d pitched last month. We had a great chat and — cha-ching! — she may actually have a $4,000 assignment for me sometime later this year.

I’ve already nailed down an assignment in England for January 2015 and am discussing one in Argentina. Few staff jobs offer that kind of range.

But you must hustle! As business guru Seth Godin writes here, on his blog, if you can’t sell what you do, you’ll never make a penny at it — no matter your education, hard work or talent.

Would you prefer to be freelance?

Or do you like working for someone more?

Freelancers can attend a mid-week matinee!

Freelancers can attend a mid-week matinee!

 

I get paid to do this? When work is joy

In beauty, behavior, books, business, culture, design, Fashion, journalism, life, photography, work on July 27, 2014 at 3:44 am

By Caitlin Kelly

A print on polyester -- I had a long convo with the designer!

A print on polyester — I had a long convo with the designer!

Sometimes work is sheer drudgery, the thing we can’t wait to flee at day’s, week’s or career’s end.

But sometimes, when we’re lucky, it’s pure joy.

A young friend of mine is traveling throughout SouthEast Asia for three months leading tours and photographing it all. She — yes, really! — fell off an elephant, and into the Mekong River in Laos recently. I awoke in suburban New York to her panicked email from the other side of world asking for my husband’s email; (he’s her mentor and a photographer.)

Here’s her blog.

Aside from a water-logged camera and lens, she is both working hard and impossibly happy, especially sweet after a New Jersey internship that was exhausting and often formulaic.

Two fabrics from a Montreal distributor

Two fabrics from a Montreal distributor

Last week was like this for me.

As a full-time freelance journalist, I work on a wide variety of stories and assignments, from coaching fellow writers to writing personal essays for The New York Times. I also do less glamorous stuff like covering trade shows.

A booth filled with vintage clothing, used for inspiration

A booth filled with vintage clothing, used for inspiration

This week I covered three, all held in New York City, where I live — (and my feet are sore!) — interviewing their organizers and some of their many vendors.

The first show, Premiere Vision, brings together 300+ textile, lace, button and zipper manufacturers to meet the people who need their goods to make the clothes we will buy in a year from places like Marc Jacobs or Diesel or Tommy Hilfiger.

Isn't this gorgeous!? Even the sequins are wrapped in mesh

Isn’t this gorgeous!? Even the sequins are wrapped in mesh

However unlikely, I spent 45 minutes at another show discussing…pockets.

As in: the fabric used to line pockets, specifically of jeans and jackets. I loved this pair of shorts, showing how creatively one can use these fabrics.

Love these!

Love these!

 

At PV, there’s a whole section of people selling their designs, some of which I now realize adorn my workout clothing — for $500 or $700 you buy their design outright and can use it in whatever way suits your needs. Another few vendors sell scraps of vintage wallpaper and fabric that end up used for pillows by Crate & Barrel and other major retailers.

Yes, it's fabric! Stretch cotton with a wood-grain surface print

Yes, it’s fabric! Stretch cotton with a wood-grain surface print

As someone obsessed with textiles and a student of design, this is the most paid fun imaginable — getting to see and touch gorgeous fabrics, meet smart, cool designers and see how it all comes together.

How was your week at work?

 

A bit hard to see -- tiny gray crystals attached to pale gray wool, an award-winning Japanese-designed jacket

A bit hard to see — tiny gray crystals attached to pale gray wool, an award-winning Japanese-designed jacket

Why “I hated it” doesn’t count as cultural criticism

In art, beauty, behavior, books, culture, design, film, photography on July 19, 2014 at 12:11 am

By Caitlin Kelly

Early this week, a Broadside reader — thank you!! — generously gave me a ticket to see Elena’s Aria, a work from 1984 by Belgian choreographer Anne Teresa De Keersmaeker at the Lincoln Center Festival, an annual event.

IMG_20140629_162728416

The auditorium was packed and I saw many dancers sitting around me, some leaning forward in their seats. The piece was an hour and 45 minutes in length, with no intermission and if you left, you would not be re-admitted.

Commit or else!

I didn’t hate it, but it was a challenging piece in a number of ways:

— It was really long

— It was very repetitive

— Much of it was performed in silence

— Much of it seemed to focus more on movement than pure dance

– It included black and white vintage film footage of buildings being dynamited to shards

I was very curious to read the New York Times’ review:

Made in 1984, it was her first dance to use spoken text and film. The program note describes it as a result of self-questioning, a search for a way forward. And on Sunday at the Gerald W. Lynch Theater, when it was performed in New York for the first time since 1987, that’s what it looked like: the work of a young artist who has hit an aesthetic wall and hasn’t yet discovered how to get past it…the overall impression of the work is less of emotional implosion than of expanding boredom. At the end, the women, seated in chairs, cross their legs and run their hands through their hair as part of a Mozart piano sonata plays…As drama, the dance cuts off empathy, but as these women fidget, you know exactly how they feel.

I’m glad I saw it, even if I didn’t love it. I was around the same as the choreographer in 1984 and, like her, had had some terrific early professional success. I remembered what that felt like.

I remember 1984.

I’ve only walked out of one play, as its themes were simply too painful for me personally. And I walked out of the terrifying film The Exorcist as I couldn’t take it.

Generally, I stick around. (Not a boring or poorly-done book. That takes up too much time!)

a5901V-cr

One reason is that I know what it takes to create a work of art or literature or dance or theater — usually years of training and rehearsal and guts and time and money and ideas and financial backing. Even if the result is atrocious, and it can be, it’s also the result, in many cases, of tremendous effort.

I don’t need to love everything I read, hear, see or listen to as long as there are some useful or intriguing ideas within it. Nor does it have to be quick or short.

It just has to make me think.

How about you?

How do you respond to art or cultural works that make you uneasy, uncomfortable or bored?

Time to step up your writing game?

In behavior, blogging, books, business, education, journalism on July 8, 2014 at 12:07 am

By Caitlin Kelly

Reporting in Bilwi, Nicaragua this year for WaterAid

Reporting in Bilwi, Nicaragua this year for WaterAid

Many of you — welcome! – are new to Broadside, (now at 10,759 followers).

And many of you are writers, would-be writers or fellow bloggers.

This is a reminder that I offer writing and blogging webinars that have helped students worldwide — from Australia, New Zealand, England and Germany to many in the U.S. — write more effectively, launch or boost their freelance careers, better engage their blog readers and/or develop their ideas into posts, articles or books.

The six webinars are narrowly focused and each one is 90 minutes, allowing 30 minutes for your questions and comments; details here.

My goal is to get you to the level you want to reach — whether more readers for your blog, running a profitable freelance business or even just understanding how reporters think about ideas and how to develop them into stories editors are eager to buy.

I’m happy to work with you individually; for the moment I’m not scheduling them on fixed dates but one-on-one, working via Skype or telephone.

I also offer individual coaching — reading your work-in-progress and offering my comments and insights, helping with your thesis or just brain-storming whatever you want to focus on! I charge $150/hour, with a one-hour minimum; clients tell me they find tremendous value from it, usually with a two-hour session, the first spent reading your work, then analyzing it and discussing it in detail by phone or Skype.

“Thank you for sharing valuable insights, irreverent stories and revealing travel tips with us…Your enthusiasm for your work is infectious.  And you are… fun!”

That’s an email I received a few weeks ago after teaching eight interior designers in Manhattan how to catch an editor’s eye.

BUSINESS OF FREELANCING

I really enjoy teaching, and will be doing so this fall in Brooklyn at Pratt Institute; with decades of experience as a National Magazine Award-winning journalist, two-time non-fiction author, magazine editor, reporter for three major daily newspapers and now a full-time freelance writer for publications like The New York Times, Cosmopolitan, Marie Claire and many others, I can help you raise your game.

“As a journalist with only a few years experience, I appreciated her willingness to share her expertise and experiential wisdom. If you have a chance to take a class with her, don’t hesitate. Great value.”
– Lisa Hall-Wilson

Hope to work with you soon!

From wife to widow

In aging, behavior, blogging, books, domestic life, family, journalism, life, love, men, women on June 25, 2014 at 12:30 am

By Caitlin Kelly

IMG_20140508_093747431

There is a woman in our apartment building whose husband will soon die, at the absurd and frighteningly young age of 54. Maybe it’s 52.

All I can do is think of him, and pray for him and her and hope his death is as gentle as it can be.

He is not 16 or 25 or 40, true.

But he is young — and he is dying from a brain tumor and he was a lovely, smart, hard-working man who will soon leave behind a grieving younger wife and a teenage daughter from his first marriage.

We were not close friends, which is why I did not visit his bedside and got the news of his imminent demise from a neighbor.

He and I served on our co-op board together, a true test of character and grace under pressure!

And when my second book came out and I was struggling with some personal attacks, he explained to me — he, being a lawyer — what an ad hominem attack was and, more essentially, how to fight one effectively.

His compassion and wisdom touched me deeply.

And all I can think of is that — through nothing more than the shittiest fortune imaginable — his death soon transforms his wife into a widow.

Niva Dorell Smith, a fellow blogger, knows this nightmare as well, although she was younger, as was her husband Kaz, when he, too succumbed to a brain tumor.

She recently published her story about it on narrative.ly, married only 11 days before he died:

Three weeks later, I stood in a large warehouse, watching two men push a gurney towards me with a large cardboard casket on top. I wanted to see Kaz one more time. They wheeled the gurney before me, so I could see the word “Smith” written on top. Then they removed the cover.

I stared at him for a long time. His eyes were closed, and he was wearing the clothes I had given the men who picked him up ten days earlier, on May 3, 2011. He had all the same tattoos. Yet I couldn’t shake the feeling that I was looking at someone else. The Kaz I knew and loved was not in that box. I didn’t know where he was.

“Goodbye, babe. I love you.”

The men replaced the cover, opened the furnace door with gloved hands, and pushed him inside. The room suddenly felt warmer, and I sat down, lightheaded.

There is no good way I know of to lose the man (or woman) you adore. To whom you once said — praying it wouldn’t happen any time soon — “til death do us part.”

My handsome hubby, Jose

My handsome hubby, Jose, wearing seersucker (a NYT tradition) for June 21

Just cherish the hell out of them while you have them.

Buy my books! (The gentle art of self-promotion)

In blogging, books, business, culture, journalism, US, work on June 16, 2014 at 12:43 am

By Caitlin Kelly

malled cover HIGH

Here’s an interesting discussion, from The New York Times Book Review, about whether or not authors should run around promoting themselves and their products books.

Here’s James Parker on why it’s such a bad idea:

She must explain herself. He must sell himself. To a gifted minority it comes naturally; to the rest, it really doesn’t. Hence the tremendous awkwardness that often attends these sorties into the national mind. Author photos, for example, are invariably ghastly: pouting, bedraggled or staring down with blazing eyes from the spire of genius, the author is basically saying (or trying to say): “Trust me. I’m worth it.” As for media appearances, any interview in which the author doesn’t swear uncontrollably or break into loud sobs must be considered a public relations triumph.

Having written two non-fiction books, one before the age of social media – “Blown Away: American Women and Guns”, published in 2004 — and Malled, in 2011, I’ve been around that block.

He’s right.

People who choose to write for a living generally prefer to withdraw into their own heads and work at their own pace.

If we were super-chatty extroverts, we would have gone into PR.

If we really loved having our photo taken or being witty in two-minute soundbites, we would have chosen a career in television. Trying to boil down nuance into seconds is difficult and scary as hell — and I’ve done a fair bit of television and radio promotion for my books, whether BBC radio and television, NPR or Al Jazeera America.

And “the public” can be brutal, (see: amazon “reviews”), ignorant and brutally ignorant of what it takes to even get a book commercially published. Authors often get asked to speak at someone’s lunch or alumni group or women’s club, unpaid.

Yet if your book sells poorly — fewer than 10,000 copies — your odds of an agent repping you, or any publisher touching  your next attempt shrivel very quickly.

So we feel compelled to sing and dance and do blog tours, even if that’s about as appealing as gum surgery.

Here’s Anna Holmes taking the opposite view:

Book promotion can offer a feeling of agency for authors trying to find their way in an industry that can seem otherwise fickle, opaque and unmeritocratic…

And the readers, really, are where it’s at. There’s nothing more rewarding than taking — or making — opportunities to connect with potential readers face to face or, thanks to the rise of the Internet, pixel to pixel. In fact, I consider book promotion as much of an obligation as proofreading a manuscript. Writing is, in itself, an act of engaging with others, of seeking connection over mere expression. If you were to put a book out into the world, which would you rather have — conversation or silence?

Holmes is being super-polite; “unmeritocratic” is Times-speak for:

How did that piece of shit ever find a publisher?!

I have two friends who head the publicity departments of two major American publishers. I love them as friends, but to hear their insiders’ view of this business is blood-chilling. One told me recently she read a proposal so incompetent she said, “Not a chance.”

Yet the house bought it for a lot of money, because the writer already has a huge following for her website — i.e. demand for her product.

I was intrigued when I started to follow writer Sarah Salway’s British blog, Writer in the Garden, and decided to follow her on Twitter — and read the bio’s of the many highly-accomplished UK writers she follows. Their self-presentation was almost uniformly witty and self-deprecating, a style I used to employ when I moved from Brit-inflected Canada to the U.S. — and to chest-thumping New York City, aka Braggarts ‘r us!

If you’re shy and quiet and reserved about your work here, hang it up kids, because you’re probably going to stay invisible and powerless.

In our noisy, crowded, you-only-get-six-seconds’-of-my-attention culture, introverts can have a tough time getting their books attention, reviews and sales.

I have to say, on balance, I side with Holmes. I’d rather initiate a convo with my readers than sit around waiting for someone to find my books.

Five reasons to freelance — and five reasons not to!

In behavior, blogging, books, business, culture, domestic life, journalism, life, photography, work on June 7, 2014 at 5:46 pm

By Caitlin Kelly

I went freelance, for the third time, in 2006 after losing a staff job at the New York Daily News — but I also freelanced, by choice, full-time for four years right out of college, so it wasn’t a terrible shock to lose an office, colleagues and a paycheck.

I grew up in a family of freelance creatives, people who wrote for print and television and my father was a film director. No one had a steady paycheck or pension to look forward to and rely on. So it all felt normal to me.

You can attend a mid-week matinee!

You can attend a mid-week matinee!

Five reasons to go, or stay, freelance:

You’re very intrinsically motivated (i.e. you don’t need a whip over your head to get it done)

Autonomy ‘r us! Some people are just a whole lot happier not having a boss. And any organization, no matter how small, is going to impose policies and procedures, some of which are usually inane and some of which you might deeply disagree with.

All of which come with someone else’s paycheck.

You want more control of your work/life scheduling

Maybe you have children and/or pets and/or an ailing loved one who needs your attention as well. Maybe you prefer to work from 4pm to midnight or 2am to 8am…or whenever it suits you. Freelancing allows you tremendous freedom, within limits, to set your own hours and schedule.

I take a jazz dance class on Monday and/or Friday mornings, from 9:30 to 10:30 or 11:00 a.m — and no staff job I know of would allow for that. It’s fun and social and gives me tremendous pleasure and keeps me healthy. And I like knowing this is a bonus no job would offer.

I also take as much vacation, whenever possible; my husband, even after 30 years at the Times, must request his vacation time in early January and defer to those (!) with more seniority than he.

This was a workday for us in rural Nicaragua. Sweet!

This was a workday for us in rural Nicaragua. Sweet!

You can choose a wide variety of clients and projects

Staff jobs, de facto, have set roles and responsibilities they have hired you to perform. Freelancers can freely pick and choose our clients and types of work, from quick 300-word stories to 3,500 word features to 100,000 word books. We can fly to another country to do some reporting or spend a week at a conference meeting cool people who can help our careers.

If you’re getting bored or have a difficult client, switch it up!

Intellectual challenge is up to you

If your personal life is crazy and all you have energy for is lighter projects, that’s your call. That’s a huge benefit when our personal lives go haywire and we need to lighten our loads for a while. When you work for someone else, it’s all up to them. Plus, your professional opportunities for advancement and growth (and pay) are largely within their budget, schedule and control.

BUSINESS OF FREELANCING

Your income is your choice

Key! If you want to double or triple your income — or even just boost it by 22.3% — that’s also within your control, not something at the pleasure of your boss or company CEO.

Freelancers see a very direct and satisfying correlation between our energy, stamina, skill and experience, and the zeros on our tax returns — with no office politics and no bullshit excuses why you still, somehow, don’t deserve — or just won’t get — a raise, commission or bonus.

Five reasons to stay on someone’s payroll

You’ve got huge overhead you can’t quickly and easily reduce

If you’ve got multiple children expecting you to pay for their educations, freelancing is going to be tough. If you’re crushed by student debt yourself already and/or credit card debt (especially with a high APR), freelancing — i.e. not having a reliable income each month — can be really stressful, certainly as you are just getting started and cannot command the highest fees.

And many clients pay late (45 to 60 days after invoice) while some try to screw us out of our fees.

I know some people earning $100,000 to 130,000 a year freelancing, but they are not, certainly as writers in journalism today, in the majority.

You need someone telling you what to do, and when to do it, and how to do it right

If you’re the sort of person who craves routine and a structure and people making sure you have done the work correctly, freelancing may feel too loosey-goosey. Every single day’s productivity is completely your own responsibility, so if you’re someone who likes to watch daytime TV or Candy Crush, good luck with that.

Your ability to make enough income to gas the car, feed your family and take your dog to the vet are often the primary or exclusive measure of your success. Your primary goal is to find, nurture and keep ongoing and profitable relationships — not please your superiors and colleagues.

A lovely gift from my former assistant. Someone cared!

A lovely gift from my former assistant. Someone cared!

You really need the company (and input) of other people

Working alone at home is lonely and isolating. If you treasure your office pals and going out for margaritas with them, freelancing all day by yourself may drive you nuts. Yes, you can rent a co-working space, but you’re still there to work and paying for additional space, and not necessarily surrounded by like-minded folk.

Hustling scares you (to death)

Freelancers eat only what we kill. No, not literally! But we start many weeks, or years, with no clear, definite idea what our income is actually going to be. Sure, we set income goals — but clients die, turn into insatiable monsters we have to fire, publications suddenly close or trim their budgets and mayhem just happens sometimes.

Yet those monthly bills keep coming! If the idea of constantly seeking out, and nurturing, new client relationships fills you with dread, keep the day job.

You crave the validation of “I work at…”

A phrase that drives me crazy is “Who’re you with?” I’m with myself, actually.

The constant status-check of ascribing your value and prestige to your Big Name Employer seems, to me, sadly antiquated now that 30 percent of Americans work for themselves, or as temps or contract workers only.

But if you really like saying “I work for BNE”, then get and keep a job there.

The downside? If or when you’re laid off from a staff job, your identity — and your income, of course — may take a serious and unexpected whack.

How about you?

Which lifestyle suits you best?

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