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Posts Tagged ‘Freelancer’

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!

 

12 things you should never say to a writer

In behavior, blogging, books, business, culture, journalism, work on May 29, 2014 at 12:51 pm

By Caitlin Kelly

I know that many Broadside readers work in education — have you seen The 12 Things You Should Never Say to Teachers?

Here are 12 things you should never say to a writer:

images-3

How much money do you make?

I get it — you want to be a published writer, too — and are naturally curious about the rewards. But  most book advances are now paid out over as long as four years — minus 15 percent to our agent — and the average book advance is pitifully small to start with, far less than $50,000. Do the math, and weep.

And because journalism pays so badly you just can’t believe anyone would actually work for those wages. But we do.

There is also so little direct correlation between work we may value intellectually — and what the market rewards most handsomely. (See: the best-seller list.)

Wow, that’s not very much, is it?

See above. While a few fortunates are pulling in mega-bucks, the highest-paid print journalists usually earn less than a fresh graduate working for a major corporate law firm. Sad but true.

malled cover HIGH

Are your books best-sellers?

Long bitter laugh. Only a minute percentage of books, on any subject, will ever hit the best-seller list.

Can you introduce me to your agent?

No. Maybe. Probably not. The agent-author relationship is intimate and fraught with multiple perils. It’s also a question of chemistry — the person who’s a great fit for me may be a lousy choice for you.

I’ve never heard of you

Here’s a sad little essay by Roger Rosenblatt on how un-famous he feels, even after publishing a few books. (You’re thinking: Who’s that guy?) The only way to survive the publishing world is to assume that your book(s), even after all your years of hard work and promotion, will largely be ignored by the public and bookstore buyers. Anything beyond that is gravy.

Will you read my manuscript?

What’s your budget? Assuming we want to read your work, unpaid, is naive.

This is what we do.

This is what we do.

Can I see the article you’re writing before it’s published?

Nope. Journalists get asked this all the time and the only correct answer is “No.” If you’re in doubt about the accuracy of a quote or some data, call your source(s) back. But allowing someone to review your copy opens the door to their desire to rewrite it to their tastes.

If I don’t like what you’ve written, I can ask you to remove my quotes, right?

See: on the record.

When I stop (doing whatever you do professionally), I’m going to take up writing

Awesome. Now go away! No, further.

Nothing is more irritating (OK, deadbeat publishers are more irritating) than having people treat our profession as an amusing hobby, something you can pick up and put down at leisure, like macrame or scrapbooking. It looks soooooooooo easy, right?

Wrong.

Writing well is bloody hard work. It’s not something you just “pick up.”

Journalism is a dying industry.

Indeed. Imagine how I feel after 30 years in it…

20130517083359

I hate journalists! They never get anything right

Same with doctors, lawyers, teachers…fill in the blank.  It’s a big industry with some bad apples and some good ones. Don’t assume I’m unethical or inaccurate just because you’ve been burned by someone else.

You can’t make a living as a writer!

Define “living.” Your assumptions or prejudices may be inaccurate. Or your idea of “a living” means $300,000 a year before bonus. In which case, you’re right!

The writer’s week: 131-yr-old magazine killed and a last-minute TV gig

In behavior, blogging, books, business, journalism, Media, work on April 27, 2014 at 12:06 am

By Caitlin Kelly

Sunday

Into Manhattan to see a fantastic play, The Junket, written by Mike Albo, a fellow freelance journalist who used to write a popular shopping column in The New York Times Styles section — earning him $1,800 a month — until he went to Jamaica on an ill-advised press trip. The Times fired him for a breach of its ethics code, (which is a long, detailed and fairly intrusive document for people not on their staff), and Albo wrote a funny, tart one-man show about it.

I meet an editor from a local paper, who comes out for dinner with us after the show; she mentions, halfway through the meal, she has a story to assign and needs a writer. I mention I’m available and win an assignment in the middle of our meal.

Monday

I have to find sources for a story so I turn to my two usual places: HARO, which stands for Help A Reporter Out, and my large network on LinkedIn.

Tuesday

Chasing down pitches made to a few editors, invoicing for work completed last week, getting ready to two days at the annual conference of the American Society of Journalists and Authors. I’m really looking forward to seeing dear old friends from all across the country and from my own country, Canada.

Freelancing is lonely and isolating, working alone at home all day every day, and while writers talk often by Facebook, Twitter and private listservs, there’s nothing better than a huge hug and a chance to cheer each other face to face.

Jose’s 30-year-old duffel bag, which I took with me to Nicaragua and shredded by dragging it on the ground, comes back freshly repaired by manufacturer Mountainsmith, in Boulder, Colorado. Between us, as two travel-hungry journo’s, Jose and I have a lot of luggage!

photo(46)

 

Wednesday

I head into Manhattan to meet Linda Marsa, an award-winning science writer whose latest book” Fevered” is amazing. I have no specific interest in climate change, (other than trying to adapt to it), so I agreed to review and write about her book as a gesture of friendship. But it’s so well-written, deeply-reported and compelling that I couldn’t put it down — and when the NYT finally reviewed it, was thrilled for her.

I just returned a few weeks ago from Nicaragua and she had just returned from Belize, so — even though we’d only met once before, at last year’s conference — we had plenty in common to talk about.

It’s comforting and fun to talk to a woman as passionate and driven as I am, even after decades in this crazy business. I tell her I hope to retire in a decade and she laughs, kindly.

“You love this business,” she says. “I do?”

“You just have to get rid of the bullshit.”

And she’s right.

We go to a trendy West Village Italian restaurant for lunch and order the chicken — JW chicken. Who the hell is JW? The waiter points proudly to a man sitting two tables away; the chicken is named for him. It’s delicious and juicy, but it’s just chicken! We order a side order of potatoes for $9. Nine bucks! They’re delicious and crunchy but it’s a small portion of…potatoes.

New York sometimes feels like a wallet-thinning machine.

Thursday

Day one of the conference and I’m on the 7:22 train from our suburban town. I normally don’t even get out of bed before 8:00! But it’s good to get dressed up and meet my peers.

The very first person I see — of the hundreds who have arrived — is an old friend who is another science writer, Dan Drollette, who’s had a terrific career, winning a Fulbright and then working for four years in Geneva at CERN. I tell him I’m eager for more international assignments and he offers a fantastic lead.

Like every conference, some panels are better than others. Linda’s, on long-form narrative journalism, assembled three extraordinary writers who talk about the many challenges of reporting their books, including fear of personal injury, even death. It’s exciting to sit a few feet away from some of the best in our business and hear them speak.

Huge news — the death of Ladies Home Journal, a 131-year-old women’s magazine, one of the “seven sisters” of American mass-market women’s magazines, costing 32 editorial jobs — people who will now enter a crummy job market for journalists and/or compete for freelance work.

My husband, photo editor for The New York Times business section, runs photos with a fun story about companies whose products have sassy names, like this cereal, made in the same small British Columbia town where my mother lived for years.

photo(47)

Friday

At the conference, I run into a writer from Montreal I met there in February 2013 who introduces me to a blogger from North Carolina I’ve been following for months, who offers to help me with some questions. The Montreal writer also mentions a potentially useful conference in Toronto in June — it’s $1,300 though, a fairly huge sum for me.

The two days here cost me $358; unlike others, all I have to do is take the commuter train in ($20) and walk two blocks, saving me probably $1,000 in additional airfare, meals and hotel costs.

Saturday

Having a horrible time lining up a final source for another story due two days after that one. I keep finding people and they keep refusing to participate. That’s unusual and stressful. I can’t write without sources!

At 11:15 a.m. — I’m fried from a busy week and ready to chill out — the phone rings.

It’s Al Jazeera America, doing a segment on American gun culture, seeking an expert to speak on television today at 4:00 p.m.  We arrange for car service to come and get me, (normal when TV needs you, and it’s an hour’s drive door to door from my home), and discuss their questions in advance.

I rush to a local hair salon to get my hair looking TV-ready; they will do my make-up. Good thing I have a few clean dresses always ready to go.

I’m given 3:30 to speak — a long time in television — but the host of the show asks me none of the questions I’ve discussed with the producer. I give it my best anyway, buy a bag of sugared peanuts from a street vendor, then slip back into the waiting car.

Time to go home and eat Jose’s fried chicken.

 

The writer’s week: PLM, stretch lace and late payments

In behavior, business, journalism, life, Style, Technology, work on January 19, 2014 at 2:33 pm

By Caitlin Kelly

Occasionally, I review a week in the life of a full-time writer, me.

BUSINESS OF FREELANCING

Monday

That’s a whole week ago, so I can barely remember. Finished up a fact-checking job for another writer, someone I’ve never met who lives in Florida, whose book is a series of brief biographies. A story I’d written for the Wall Street Journal — whose income, as always, I rely on — was abruptly killed, an overnight loss of $600. Shit.

In an online members-only writers’ forum, I saw the plea for fact-checking help and, for $25/hour, jumped in. I made up $500 of that lost $600 with a week’s phoning, emailing and on-line research, even though I’d never fact-checked before. Much of my work now means jumping, without hesitation or fear, into media and projects I have zero experience with.

But now I have to let all the people I interviewed for the WSJ piece know they’re not going to get the mention they had hoped for. One of the problems of writing for a living that’s rarely discussed publicly is managing your sources, without whom you have nothing to write about. I hate wasting people’s time and now have to share this disappointing news with them. I fear it make me look incompetent, when a killed story happens maybe 1% of the time.

Tuesday

Off to cover a trade show in Manhattan, at the (ugh) Javits Center, the massive conference center at the western edge of the city. I hate Javits! This is the third year in a row I’ve attended the National Retail Federation’s Big Show, an annual event that brings every possible vendor of anything interesting to a retailer — scanners, training programs, scheduling software, PLM (product life management) software. It’s basically an annual arms race, in which one or several Big Box retailers adopts a specific system, the vendor touts their win, and competitors think “Hmmmm, maybe we need this as well.”

The center is so huge that even walking to the bathroom or coat check is a hike; one vendor wearing a pedometer tells me she walked 10 miles there in one day.

malled cover LOW

I run around the place interviewing the eight people I’ve been asked to meet. Some use acronyms I’ve never heard — PLM, RFID — and I’m dancing as fast as I can. RFID turns out to be, (to me anyway), fascinating, radio frequency identification, which embeds every paper clothing tag with a device that can be read from a distance without opening a box to check inventory. (OK, I guess I’m a systems geek.)

Having worked retail for 2.5 years as an associate for The North Face — the subject of my book, “Malled: My Unintentional Career in Retail” – and having to slash open huge boxes of clothing with a box cutter, (talk about inefficient and dangerous), I’m really intrigued by this efficient new system. But it’s expensive — 7 to 8 cents per tag — and I realize how much cost our clothing prices include that we never see or know about.

I leave Javits at 4:00 pm, into pouring rain. Of course, there are no cabs at the taxi rank and a long line of miserable people waiting. My feet are killing, me but I hoof it another four long, wet blocks to the bus stop to catch the crosstown bus to Grand Central to catch the train home.

INTERVIEW TECHNIQUES

Wednesday

So excited! Today I’m attending another trade show in the city, for the same editor, someone in a distant state I’ve also never met, (typical of my worklife). This show is a lot smaller, and a lot more fun, a combination of textile manufacturers and designers whose own paintings and digital prints designers buy, then use in their own collections. Glam-looking professionals, all in chic bits of black, cluster on the sidewalk clutching their coffees, waiting for the doors to open at 9:00 a.m.

Two dozen of us watch an hour-long video of spring/summer 2015 trends: pale colors, lots of mesh, netting, lace and transparent fabrics. Neon is out, kids! I run around the show until 5:00 interviewing the people on my list. Many are French, so I speak the most French I have in ages, which I love. I see spectacularly beautiful silk, lace, wool, mesh and satins and recognize the names of some Very Big fashion labels on the buyers selecting their choices. One designer of amazing patterns, which you can buy, own and use exclusively for $625, tells me that one of my favorite women’s activewear companies uses many of his designs.

I’ll never look at a piece of clothing quite the same way again. This is why journalism is so addictive. In one day, I’ve enjoyed: meeting a pile of highly creative people; gotten to use my language skills; learned a great deal about this industry and made some useful new contacts for future stories and projects. What’s not to like?

Thursday

Time to bang out two 1,000-word stories, due this evening to my editor in California. No pressure!

I also call and email editors whose payments to me — as is now typical — have not arrived, even weeks later. While 30 days is normal, the pace of my production is much faster now, and waiting for a month for something I have to bang out within a day or two seems ridiculous. At this point, I have pennies in my bank account, bills are due and I have to start using my line of credit. (I have significant retirement savings and another emergency fund with six months’ expenses, but a short-term cash flow issue is not, in my mind, an emergency. I keep those funds in case, God forbid, I simply can’t work at all for a period of time, to be able to keep contributing the amount my husband relies on every month for our expenses and savings.)

A freelancer who can’t pay their bills on time is someone whose business, health and reputation are at risk. I’ve had a bank line of credit — $16,000 worth — for more than a decade. When I call and email editors, my tone needs to be breezy, relaxed, happy, not someone desperate for any assignment. (Even if it might be true!)

I email and call half a dozen editors, print and on-line, to check on the progress of my pitches to them. A pitch I’ve sent to one Marie Claire editor comes back, suggesting another editor there, and possibly a better fit for a competing magazine. I try the second MC editor and decide to give it a week before trying the competitor.

THINK LIKE A REPORTER

Friday

Exhausted. Between writing, blogging, tweeting and FB, I feel like my eyes are going to melt. I should jump at once into my next story, a long personal essay for Good Housekeeping, but I desperately need a day to myself and off the damn computer. I’m also physically spent from two crazy days of walking and non-stop interviewing.

I have an eye exam and discover — which I knew — I finally need reading glasses. The optometrist is a woman my age who tells me I’ve dodged that bullet a decade longer than most.

I get an email, out of the blue, from a source in California I’d interviewed last year for my (unsold) book proposal, asking me (!) to possibly speak at their annual conference. I give her an idea what that will cost and hope it will come through. I enjoy public speaking and it’s the easiest money I now earn.

I drive to Greenwich, a super-wealthy Connecticut town about 20 minutes east of us, to pick up a gallon of my favorite, spendy, British-made paint, Farrow & Ball. We’re having a new contact over for dinner — someone who might (!) send me on a very cool research trip for her organization — so we want the apartment spotless. I splurge on some gorgeous fresh flowers, white nerines, orange tulips and some greenery, and pick up the food for the dinner. I’d hoped to make filet mignon but at $29/lb. (!!!!) choose pork chops instead.

Saturday

One of the great pleasures of living so close to New York City is being able to hop in for a few hours after a 40-minute train ride. I buy a 10-trip ticket — whose price has just risen again — now $83. I walk from Grand Central to ICP, the International Center of Photography to see a show of photos by Lewis Hine.  Admission is $14. New York City is really expensive!

The show is fairly large, and the images — of immigrants arriving at Ellis Island in 1905, of child labor in 1915, of African Americans in the 1920s — are powerful, some of them very familiar. A former schoolteacher, Hine became the pre-eminent photographer of his era, capturing slices of life that were damning and which prompted social change. Yet he died broke and unknown.

I wonder what impels us to do the work we do, to care as deeply as we do, if this is to be our inglorious end.

Our dinner is a lot of fun; our guests have lived and worked in Europe, the U.S. and Africa, so we have lots of stories to share, from the White House (my husband was a NYT photographer there for 8 years) to Rwanda.

Sunday

Pooped! A day to sleep, recharge, catch up with my husband, himself a busy, tired NYT photo editor, and read four newspapers — the WSJ, two days of the NYT and the weekend Financial Times.

I bang out this blog post, trying not to freak out about the coming week: bills due, no checks (yet) and a 2,000 word piece due on Thursday I haven’t had a minute to start work on.

Helping writers in financial crisis: please donate to WEAF!

In blogging, books, business, culture, journalism, Media, Money, US, work on December 6, 2013 at 3:11 am

By Caitlin Kelly

As some of you know, many journalists now work full-time freelance. Some do so by choice, while many have been shut out of an industry going through almost daily re-invention; 24,000 of us lost our jobs in 2008 and many of us did not find another.

Add to that a difficult economy in the U.S., and some writers — even the most talented and productive throughout a long career — can find themselves in a terrifying financial crisis, with no alternate source of income and few savings if your anchor client shuts down or a few reliable editors suddenly leave and/or you get a bad medical diagnosis and you’re too busy getting surgery and treatment to keep working.

Typically, it’s a medical emergency, theirs and/or that of a loved one, and its out-of-pocket costs that shove a writer into fiscal desperation — in the U.S. (a sad and ugly truth), most bankruptcies are the result of overwhelming medical bills.

Writer Wordart

Writer Wordart (Photo credit: MarkGregory007)

I serve on a volunteer board of the Writers Emergency Assistance Fund. Since 1982, we’ve given out more than $400,000 to help qualified, deserving non-fiction writers through tough times. Our board is made up of veteran writers and editors, current and former, including Pulitzer Prize winning author Philip Caputo and novelist Betsy Carter.

Books behind the bed

Books behind the bed (Photo credit: zimpenfish)

Unlike most charities, there are no administrative costs, so every penny you give goes only to the writers who seek our help.

When a needy writer asks for a grant we quickly read their application and — within a week — send them what we agree is a fair amount, usually the maximum, up to $4,000.

The money you give us is also tax-deductible, as WEAF is a registered charity.

I’m proud to help others in my profession. I hope you’ll do so as well this year. Writers — whether we’re producing unpaid blog posts or paid books, articles, scripts or other media — enrich our shared culture, explain the world and help us all see things a little more clearly.

Here’s a New York Times story I wrote about funds like ours, including WEAF.

I hope you’ll consider giving even a small amount.

For every $50 donation to WEAF — and please email me at learntowritebetter@gmail.com to let me know you’ve made the donation, with your name and mailing address — I’ll snail mail you a signed copy of “Malled: My Unintentional Career in Retail”, my most recent book. USA Today called it “a bargain at any price” and Entertainment Weekly described it as “an excellent memoir.”

I’m happy to sign it to you, or to someone else for a holiday gift.

Thank you!

Please sign up for my final fall webinars: essays, A-list clients and freelancing

In behavior, blogging, books, business, education, journalism, Media, work on November 21, 2013 at 4:21 pm

By Caitlin Kelly

First, a huge thank you!! to the students who’ve signed up and found value in my new webinars and one-on-one coaching — from Australia, New Zealand and across the U.S. It’s been a lot of fun and a resounding success.

I also coach individually by phone, email or Skype, happy to read your material and work with you on specific pieces or projects you send to me in advance. Email me at learntowritebetter@gmail.com.

Three more webinars are left in the fall series; I’ll offer them again in February, when I’ll add two more: defining and resolving ethical challenges in journalism/blogging and how to conduct a kick-ass interview.

The three remaining:

Crafting the Personal Essay, Sunday November 30, 4:00 p.m. EST, 90 minutes.

It looks dead easy to bang out a personal essay, but it’s not! Great personal essays combine the deeply specific with the universal, the unique-to-you with the immediately familiar to a wider audience. I’ve published mine in The New York Times, Marie Claire, Smithsonian and others. My essay about divorce won a National Magazine Award — for humor! I’ll share tips and tricks to help you craft your essay into a compelling, powerful, saleable piece.

Marie Claire

Marie Claire (Photo credit: Wikipedia)

Writing for A-List Clients, Saturday December 7, 4:00 p.m. EST, 90 minutes.

Ready to run with the big dogs? You’ll learn here what editors of the most demanding publications want and need; my work appears regularly in The New York Times, as well as reported stories and essays in Marie Claire, Glamour, More, Ladies Home Journal and Cosmopolitan. You’ll learn how and when to pitch, what every pitch must contain — and the one guaranteed way to get an editor to read your pitch.

The New York Times

The New York Times (Photo credit: Scott Beale)

You, inc: The Business of Freelancing, Saturday December 14, 4:00 p.m. EST, 90 minutes.

Do you fantasize about working at home in your PJs? But how to drum up the thousands of dollars you’ll need every month to pay your bills, buy health insurance and keep building your retirement funds? How much to charge? How and when to negotiate a higher rate? How many assignments can you juggle at once? This practical, tips-filled class shares my experience of working for decades as a successful and productive full-time freelancer.

I hope you’ll join us!

Actually, no, I don’t work “for exposure” (or lunch)

In art, beauty, behavior, blogging, books, business, culture, design, journalism, life, Media, Money, music, photography, Technology, US, work on October 27, 2013 at 5:57 pm

By Caitlin Kelly

If there is a current cri de coeur of the creative crowd, this is it.

Much as we might fervently wish for it, there’s no separate gas pump with a 35% discount just for painters or a 25% off aisle at the grocery store reserved for musicians or a 50% off sticker affixed to our phone, electricity or insurance bills.

English: Grocery store in Callicoon, NY, USA

English: Grocery store in Callicoon, NY, USA (Photo credit: Wikipedia) Free food for artists! NOT.

Our costs are the same as everyone else’s.

So this piece in The New York Times, although hardly a new thought, hit a nerve:

NOT long ago, I received, in a single week, three (3) invitations to write an original piece for publication or give a prepared speech in exchange for no ($0.00) money. As with stinkbugs, it’s not any one instance of this request but their sheer number and relentlessness that make them so tiresome. It also makes composing a polite response a heroic exercise in restraint.

People who would consider it a bizarre breach of conduct to expect anyone to give them a haircut or a can of soda at no cost will ask you, with a straight face and a clear conscience, whether you wouldn’t be willing to write an essay or draw an illustration for them for nothing.

They often start by telling you how much they admire your work, although not enough, evidently, to pay one cent for it. “Unfortunately we don’t have the budget to offer compensation to our contributors…” is how the pertinent line usually starts. But just as often, they simply omit any mention of payment.

I like to see how many comments Times pieces elicit; as I write this, so far, 493 people have weighed in. That might be a record.

This hit a chord with me, again, when yesterday a local attorney — who drives a lovely Mercedes — asked me to have lunch with her daughter so her daughter could ask my career advice.

Shell Petrol Pump

Shell Petrol Pump (Photo credit: dvanzuijlekom) Free gas for writers! Just kidding!

I met the attorney because I interviewed her, (a paid gig, of course). We have no social or other relationship, but it’s a very normal expectation I want to share my 30 years’ expertise and insight without payment because….?

I don’t want lunch.

I want to be paid.

I grew up in a family of freelancers. No one had a paycheck, pension or paid vacations. Our earnings relied on our talent, skills and ability to negotiate a payment that made sense to us. It did, providing us with nice clothes, decent used cars, international travel, a home with a mortgage, i.e. a middle-class to upper-middle-class life.

This fantasy that creative people are eager to slurp ramen into our 60s or beyond is just weird.

Like that Times op-ed writer, Tim Kreider, I’ve also turned down many “offers” to go and speak unpaid — from the Retail Council of Canada (!), with no offer to pay my travel costs from New York to Toronto — to a local alumni group of a prestigious university who recently “invited” me to spend four hours of my time on that event, so I could sell copies of my latest book – at a discount.

None of which earns me a dime.

People wouldn’t ask their physician, dentist, accountant or attorney to come hang out, without compensation, for the afternoon.

Don’t ask me either!

How often are you asked to work without pay?

Please sign up now for my webinars: reporting, essays, ideas and more

In blogging, books, business, education, journalism, Media, work on October 24, 2013 at 10:52 am

By Caitlin Kelly

CKELLY HIGH RES

I mentioned this here a while ago.

Now we’re ready to go!

As some of you already know, I’m an award-winning journalist who’s published two non-fiction books of national reporting and writes frequently for The New York Times. My work has appeared in publications in Canada, (Chatelaine, Flare, Toronto Life, Maisonneuve , etc.), the U.S., France, Ireland and New Zealand, including The Wall Street Journal, VSD, Marie Claire and Ladies Home Journal.

I’ve also taught journalism at Concordia University in Montreal, New York University, Pace University and The New York Times Student Journalism Institute. I also recently taught the first webinar here at Kristen Lamb’s online conference, WANACON.

I’m offering six webinars:

Think Like a Reporter

Finding and Developing Story Ideas

Growing Your Blog

Writing for A-List Editors

You, Inc: The Business of Freelancing 

Crafting The Personal Essay.

Each is 90 minutes in length, half of which is saved for your questions and comments.

They range in price from $100 to $200; details, prices, dates and sign-up are all here. After you’ve registered, I’ll email you each directly with the sign-in location for the webinar.

The first is Sunday November 3 at 4:00 pm. Eastern time. 

Finding and Developing Story Ideas will be helpful to anyone who’s freelancing, or hopes to. I’ll talk about which ideas are best suited to websites, newspapers, magazines or non-fiction books — sometimes all of these.

Three recent students say:

“By any metric, Caitlin soars as a teacher, especially her sincerity and kindness. Students don’t care how much you know until they know how much you care. Caitlin embodies that – with the experiences she can share, the skills she can teach, and lives she can change.”

– Amer Taleb

 

Caitlin is an exemplary mentor and teacher. She doesn’t just provide excellent training for the exacting standards and requirements of journalism and authorship, but shares her experience and knowledge readily, offering real, pertinent information and how to use it.

 

She invests herself in those she teaches, helping them to develop the wide array of skills and instincts they will need to succeed in any area.”

– Cadence Woodland

“I enjoyed Caitlin’s presentation very much. As a journalist with only a few years experience, I appreciated her willingness to share her expertise and experiential wisdom. She made herself available for questions afterwards, which was particularly helpful. Her experience was insightful. If you have a chance to take a class with her, don’t hesitate. Great value.”

– Lisa Hall-Wilson

If you have any questions, please email me at learntowritebetter@gmail.com

I hope you’ll sign up — and please spread the word!

The other skills you need for successful self-employment

In behavior, blogging, books, business, journalism, Money, work on September 12, 2013 at 12:20 am

By Caitlin Kelly

People who choose self-employment often focus on the freedom — No office! No boss! No politics! No commute!

Freelancers Union Logo

Freelancers Union Logo (Photo credit: Wikipedia)

But successfully running your own show requires a wide range of skills beyond the specific product or service — dog-walking, gluten-free cupcakes, general contracting, writing — you’re hoping to sell.

Here’s a great post from one of my favorite blogs, Freelance Folder, on this topic, which lists 17 separate skills with a link to even more:

Communication skills. Freelancing is all about clear communication. As a freelancer, you must express your ideas and requirements to prospective clients, current clients, and other freelancers.

The first one can be a real toughie.

Once you’ve established a good working relationship, and a track record, with your clients, you’re usually good to go. You probably speak the same language, emotionally, so you click naturally in your communication style.

But to steadily earn a good living will also mean working with many people quite different in their style.

Would-be clients are busy with competing demands and may not communicate quickly, clearly — or at all! I see many emails from fellow freelancers asking when, if and how often to follow up with a pitched idea so we can close the sale (or not), find out the fee and budget our time for the work and the income for our expenses.

Follow up too often and you’re a stalker. Not often enough and you’ll starve because you can’t keep enough work coming in.

Whenever I start working with a new client, I ask a few questions about their communication style: do they prefer phone or email? Are specific days or hours in the day off-limits? How long, typically, does a pitch take to get approved?

When I work with The New York Times — which is almost weekly — I know from experience that my emails often end up in their spam filter due to my email address. So I know to call and leave a voicemail message to follow up.

Estimating skills. How long will a project take? Successful freelancers need to be able to answer this question so that they can schedule their time effectively and still earn a profit.

This is also a difficult one, no matter what you do for a living.

I recently blogged about knowing your CODB, your cost of doing business. So you know what you must make to cover your expenses — but what about short and long-term savings, retirement savings, attending a few conferences every year to upgrade your skills and meet new contacts?

Illustration from "Living Up to Your Empl...

Illustration from “Living Up to Your Employment System” (Photo credit: Wikipedia)

So when someone quotes you a price, or vice versa, never forget all those other costs, not just the short-term gain of that payment.

The challenge of estimating is that it’s one-sided! We know how long we might need to do the work…but what about your client?

Does the work require reviews/edits/approval from several other people? How long will that take? (Can you negotiate partial payment up front?) Are they known in the industry as challenging or difficult?

Ask around so your “estimate” isn’t naively and stupidly optimistic.

Interpersonal skills. The stereotype is that freelancers work alone and don’t need interpersonal skills, but that’s a myth. Freelancers interact with prospects, clients, and other freelancers.

Oddly enough, this might be the most essential skill of all. The (mis) perception of freelance or self-employed people is that we “don’t play well with others.” Which isn’t true at all — if we didn’t, we’d never find or retain satisfied clients!

From the very start of your freelance life, you’re going to need other people to help you: for advice, insight, feedback, moral support, sometimes a shoulder to cry on or to toast your latest coup. Almost every single day, by phone, email or social media, I’m asking for, or giving, advice to someone.

At this point in my career, 30 years into it, virtually all my work comes from established clients or personal referrals to new ones from people they know, like and trust.

So play nicely, ladies and gentlemen! Never steal ideas, backbite, gossip.

And don’t be nasty, even if you’re feeling really shaky and insecure.

Networking Freelancers

Networking Freelancers (Photo credit: solobasssteve)

So, go out often — at least once every month — to industry parties and events and panels and conferences. Bring a genuine smile, a well-designed business card and a generous spirit.

And look professional! At a recent NYC roof-top event I attended, a woman around my age was wearing chipped red nail polish. Seriously? You need a great/recent haircut (and/or color), polished shoes, fresh mani/pedi (do it yourself, but do it!)

We make snap decisions about people within seconds of meeting one another. Make sure they’re positive.

Do not — I beg you — use the phrase “I’d love to pick your brain”. Ever!

Of course you would.

You think it’s flattering. It’s not, really. Because our brains are already spoken for. Instead, be classy: offer to pay us a consulting fee, make a useful professional introduction or buy us a good meal. Don’t be cheap and assume it’s our job to mentor you because you’re needy. It’s not!

And don’t become the whiny/negative/raggedy/sloppy person whose calls we dodge and emails we delete.

If you’re self-employed, what skills do you find most essential to your success?

What’s your time worth? Is it enough?

In behavior, blogging, books, business, journalism, Media, Money, photography, work on August 9, 2013 at 12:53 am

By Caitlin Kelly

Self Employment Tax Form - Schedule SE

Self Employment Tax Form – Schedule SE (Photo credit: Philip Taylor PT)

Really interesting piece in The New York Times Magazine about the value of ideas, and our time:

Measuring productivity is central to economic policy — it’s especially crucial in the decisions made by the Federal Reserve — but we are increasingly flying blind. It’s relatively easy to figure out if steel companies can make a ton of steel more efficiently than in the past (they can, by a lot), but we have no idea how to measure the financial value of ideas and the people who come up with them. “Compared with the mid-1900s, goods production is not as important a part of our economy, but we continue to devote about 90 percent of our statistical resources to measuring it,” says Barry Bosworth, a Brookings Institution economist who is a leading thinker on productivity in the service sector.

This question is central to my work as an independent creative, a full-time freelancer, whether I’m selling my ideas/skills/time to a newspaper — The New York Times — or a magazine like Cosmopolitan — or a website — like bbc.co.uk, all recent clients.

Or to an individual who wants my guidance on their own material.

Like everyone who works hard for a living, I don’t intend to live hand-to-mouth scraping by. I’ve developed excellent skills and the ability to work on a wide range of projects. But ginning up the income I really want is challenging when I refuse to work more than a 40-hour week and rates are low.

I also — contrary to some beliefs — don’t work 40 hours doing nothing but writing!

Much of my time is spent coming up with ideas, developing them, pitching them, invoicing, filling out administrative paperwork, chasing late payments, delegating to and managing my assistant and working on book ideas and other long-term projects.

I also need to speak to my agent and various editors. I network, in person, on-line and on the phone, with other writers about new markets.

There are many moving parts to running your own business, many of which suck up unpaid time — an opportunity cost in itself. So every hour has to bring in income, shortly or soon thereafter.

Vincent Laforet, a highly successful American freelance photographer, just wrote a really interesting blog post on this, called the C.O.D.B. — the cost of doing business.

If you’re working for yourself and don’t know the costs of every single day, and how much you’re earning in profit (or losing), you’re not running your business efficiently:

Basically it’s a number that represents what it costs you to operate your business for every day that you work. 

On a basic level, you add up all of your purchases and expenses to run your business, as well as your salary (I suggest you add your salary, but some people don’t)  and divide that by the total number of days you expect to work each year.    That will give you a number that is the MINIMUM you must make each day to BREAK EVEN.    If you make more per day on average than your C.O.D.B., you are profitable.   If you match your C.O.D.B but work fewer days than what your expected, your business is in the red, and your on a path to being out of business…

What has amazed me time after time is how few of my colleagues know what their number is, and how that in turn makes it very difficult for them to grow their business over time – let alone what to charge their clients.

You should know this number by heart as it should help you determine the minimum rates you need to charge your clients on a job per WORKING day, to stay solvent as a business.   Keep in mind that if you get paid per SHOOT day – and don’t get paid for treatments, conference calls, research, prep and post – you need to cover ALL of those days in your SHOOT DAY FEE of course.    In other words, if you get paid 3 shooting day rates, but you actually worked a total of 12 days between pitch, prep, shoot, and post – you need to QUADRUPLE your DAY RATE (or daily C.O.D.B. day rate) to break even for those 3 shooting days you are actually being paid for.

When people dream of self-employment, they rarely factor in all the additional attendant costs — whether out of pocket dental bills, maintaining their website, attending conferences or upgrading their equipment.

Let alone vacation days, sick days and days-from-hell when you simply can’t get the work in, or done.

A new client has asked me to do some work for him, and he estimated that the $1,000 he’s offered per story buys three days of my time.

Which wrongly assumes he knows my CODB.

Let’s do the math: three typical work days = 21 hours’ total, tops. That’s about $50/hour if I do nothing but his story. Sounds like a lot, right?

Not in my book.

Every hour I devote exclusively to a lower-paying project, (although it might be someone with a steadier appetite for my services or someone more pleasant to deal with) is lost to finding and/or completing something else paying more, possibly a lot more.

It’s a constant juggling act giving everyone good service, (albeit some in fewer hours).

Do you price your own time?

Do you have a formula?

Is it working?

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