The editorial relationship

 

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By Caitlin Kelly

The good and bad of blogging  — for writers and readers alike — no editors!

No one to say: “Hmmm, really?”

No one to ask: “What did you mean to say here?”

No one to suggest: “Maybe you wanted a shorter paragraph?”

I’ve been writing for a living since I was 19, so I’ve worked with many editors, men and women of all ages and temperaments, some as my bosses or coworkers, many as those who chose to assign me freelance work, and my two non-fiction books.

The very best are like the best plastic surgeons — when they trim, you barely notice it, but suddenly your material looks so much better.

The very best remain calm and cool, able to re-direct us and soothe us when we’re lost or panicked in the weeds of reporting and interviewing. Book editors are gods to me — helping us make sense of 100,000 words.

I’m always amazed at the trust that each editor places in us and our skills and our character and our ethics and our work ethic when they commit to us. This was a bigger deal when top writers were paid $3/word by the big glossy magazines and a $6,000 or $9,000 or $12,000 check was still possible and not some gauzy memory.

Then as now, editors hedge their bets with contracts that may not contain a kill fee, or a very small one (25 percent), so that $4,000 you expected to earn — hah, now you’re only getting $1,000 and your bills be damned!

It’s one reason smart full-time freelancers are very, very frugal; it’s easy to blow some cash on a vacation or some new clothes or some dental work or car repair — put  it on a credit card — and, guess what?

You aren’t getting that money now.

It’s very stressful and stories get killed for a lot of very bad reasons. One I see a lot (not in my work) is editors who commission a story, disappear for weeks or even months (!?) and then the story is no longer timely or someone else already published it. This punishes the writer, who’s done all the work in good faith.

 

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Some of my most memorable editors:

— The one who sent me off to profile David Quinn, then the brand-new coach of the New York Rangers, saying “You’re Canadian. You know hockey!” I did not. Here’s the story.

— The one who just assigned me a scary story about a technical topic for a specialist audience of readers with Phds. “You realize I never studied chemistry or physics?” I emailed him. Onward, anyway.

— The  one who told me to get what he was sure was a totally ungettable interview and I came back within a few hours with a former European leader.

— The one who sent me off on a two-week tour of Queen Elizabeth and Prince Philip. Lord, what an adventure: Ontario, Manitoba, New Brunswick. We flew in Lear jets, allowing Her Majesty the “purple corridor” of advance time for her jet to take off before ours.

— The one who sent me, in December, to the tiny Arctic village of Salluit, ostensibly to deliver an entire small plane-full of donated clothing, with only 24 hours there. We landed on ice and snow at maybe 1pm, and no one wanted the stuff, and it was dark by 2pm and  I had to go on the radio, a particle board shack, being translated into Inuktitut, to calm the village down and get anyone to even speak to me.

 

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— The one, at the New York Daily News, my direct manager, who said: “When I want to speak to you, I’ll let you know” and never spoke to me again. That was December and I was let go in  June. Fun!

— The one who edited Boy’s Life, the Boy Scout’s official magazine, and had me interviewing Scouts (by phone) all across America. They were always terrific!

 

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— The one who read my initial manuscript for Malled and said: “I really like Chapters 11 and 12.” The rest? Needed revision. We made it.

— The one who sent me from Toronto, freelance, for The Globe & Mail, to write about performing eight shows of Sleeping Beauty as an extra with the National Ballet of Canada, at Lincoln Center. I typed it up in my room at the Empire Hotel and dictated it over the phone. “This is great!” he said.

 

At best, it’s a collegial collaboration of mutual respect.

At worst, you feel butchered and never want to trust another editor again.

And you never know for sure what you’ll get!

The freelance writing life

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By Caitlin Kelly

Well, mine anyway!

If you fantasize about the glam life of a full-time freelance writer — no commute! work in sweatpants! no meetings! no office politics! — the quotidian reality can be…bracing.

I’ve been full-time freelance many times in my career, this most recent stint starting (again) in the summer of 2006 when I was summarily canned (no emails, no meetings, no warnings) by the New York Daily News.

Bye-bye paycheck!

Bye-bye enormous laminated press pass!

It’s much more difficult now to earn a good living (like $60,000 year-plus) in journalism because so many magazines have shut down or gone to a digital-only version — which pay much less than print (I call it #MissingAZero, as they now offer $150 for 1,000 words [at worst] instead of the $1,500 to $3,000 that was once standard payment for that length. Yes, we are still, typical in journalism, paid by the word.)

 

 

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Here’s some of my recent writing life:

 

— A pal on Twitter, who lives in Alaska but who edits for a magazine based in New York City, tweets out she seeks pitches on retail, the topic of my last book. Sweet! I like her a lot and trust her to be a good person to work with, so I pitch her.

— I pitch a religion-focused idea to a Canadian magazine and follow up three times to discover she never saw the initial pitch. Re-send it. I get an offer but it’s short and low, and the Canadian dollar is 25% lower than U.S. — and I pay my bills in New York. Unless they’ll go higher, I’ll pass. (They didn’t, but the email conversation remained cordial.)

Phone interview for an amazing opportunity with a super-prestigious and interesting project, told I’m one of their top three candidates. This is rare! This is potentially very cool. Must wait now for further details.

 

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— The print version of my American Prospect story arrives. I love seeing my work in print! I also get paid for it (after starting work on it in August 2019 and finishing work on it in November 2019.) This is the first time in our 20 years together that Jose and I worked together on a story.

Phone conversation with an editor far far away seeking a daily editor for a major news-site. I am surprised to be in the mix (as I am so often not, now!) and ask why; as I suspected, my decades of news experience do have value. I find out I’m also the only candidate (of many) who followed up with a phone call.

— I apply for a reporting fellowship. Waiting to see if I make the finalists’ cut.

— I apply for a few staff jobs but get nothing.

— I report and write a 2,200 word story on STEM education, my first (and an assignment, not my pitch), for Mechanical Engineering magazine. Editor loves it and wants to work on more stories. Yay!

 

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— I pitch several ideas to editors at The New York Times, to Air B & B magazine, and to a new website focused on interior design. The Air B & B essay idea is rejected but it’s a good one and I start thinking who else might want it.

Need to come up with some ideas for The Wall Street Journal, as an editor there contacted me after my American Prospect healthcare story came out.

— Have found an intern, a college student, and assign her research work for two book projects. She found me on Twitter and we will meet this weekend in New York for lunch, face to face for the first time.

— A former Times colleague of Jose’s, who knows me and my work, suggests me to an editor there for a project. We’ll see!

— I lose a lot of energy and patience trying to get the two key sources for a magazine profile to give me the initial information I need. I finally get it, but after too much needless anxiety. This is the kind of story others would kill to have written about them.

 

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— I practice and time my remarks for a workshop on pitching I’m giving on March 6 at the annual Northern Short Course, a 3-day conference for photojournalists, this year in Fairfax, VA. I book two nights’ hotel in a quaint town nearby beforehand and two nights’ hotel in D.C. to catch up there with friends as well.

 

Ready for a break!

Writing “longform”: 12 tips

 

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By Caitlin Kelly

My 5,000 word story for The American Prospect is by far the longest I’ve written in a decade.

My book chapters are usually that long, but a book is a very different animal.

Today’s journalism too often demands writing “light, bright and tight” — jamming a story into 700 or 900 words.

So reporting and writing at length demands a wholly different approach and strong skills.

 

Some tips:

 

1. Who is your (ideal) audience? How much do they want to know? What are their most burning questions? Who else has so far answered them poorly — and how much better can you do?  How will you achieve that?

2.  Make sure from the very start, after you’ve found an editor who wants this story, that you’re both clear on expectations: story length (is there wiggle room?), date of publication, what illustrations or graphs or charts or photos does it need and who will be responsible for obtaining those, who’s handling social media, payment (how many days after acceptance? after invoice?), what about a kill fee, who owns copyright and make sure you will be given a chance to read the edited story with enough time before publication to make sure it is accurate.

 

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Get clear on your story’s direction!

 

3. Check in with your editor — and don’t be annoying. If the story, for any reason, might be delayed or is changing shape or focus, they need to know now. On my healthcare story, I sent my source list early on.

4. What is the key issue your story will address? The clearer your initial focus, the clearer your roadmap of who to interview, what documents to read, what videos or podcasts you need to listen to, etc. Time is money and you have to be efficient.

5. Who will you interview? Stories develop as you go, but you should have a solid idea of your key characters before you start. And bear in mind that senior/high-level sources are super-busy with work, teaching, conferences, travel. You may need weeks or even months to get some of them to agree to speak with you. Be strategic.

6. If you need help — a fixer, translator, researcher — use them, and give them clear direction. Pay as much as possible, ideally no less than $20-25 an hour; 20 years ago I was paying $15/hour to my researchers. Quality costs!

 

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Coffee stains optional!

 

7. It’s a line of dominoes. Every source you speak to on a lengthy and investigative story of any true complexity will be assessing you…not just vice versa! Are you smart, well-prepared, asking intelligent and incisive questions? Are you polite and patient? Every source who decides you, too, are of value may then refer you — often unasked — to others at their level of wisdom, access and insight.

8. Share as much as you can with your sources. Some writers refuse. It’s totally personal, but I typically share quite a bit. In my decades of experience, I find that it establishes trust, credibility, a human connection. Sources aren’t gas pumps! Some will appreciate being included and feel respected.

9. How will you structure your piece? What’s your “lede” — the opening few sentences that have to lure your reader in at once? Do you have a terrific “kicker”, the final few sentences that leave your reader thinking, remembering, moved? Here’s an excellent and helpful book, “Follow the Story”by a legendary American journalist. What are your “golden coins” — bits of material (a great quote or anecdote, a compelling data point) that will continue to lure your reader deeper and deeper. You can’t lose them!

10. Find at least three “first readers” whose fresh eyes on your copy will immediately see what’s missing, what’s over-written or under-explained. These should be people whose solid judgment of the issues and how to write well you know and trust. They will help you polish your story even more before it goes to your editor.

 

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11. Pace yourself! My interviews are usually at least 60 minutes, sometimes 90 and sometimes even (whew!) 120. By that point, we’re just pooped. Two a day doesn’t seem like much, but these days it is. So if your story — like mine — includes 30 sources, do the math and plan our your time accordingly. Same for writing. I write quickly, and produced this story within maybe three days, plus revision time. But everyone works at a different pace. Do what works best for you.

12. Savor the result! It’s a serious accomplishment to win an assignment of this length and to complete it to the editors’ satisfaction. 

The big story: writing it!

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This shot of Niagara Falls snapped during my return trip to New York after three weeks in Canada, 12 hours by train back from Toronto

 

By Caitlin Kelly

Whew!

Five notebooks full.

Reports and books read.

Thirty original interviews completed, some by phone, some face to face.

Five towns visited in five days to meet and interview sources in each one.

Here’s my post from August 13, as I was starting to work on my biggest story in years:

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I had a maximum of 5,000 words.

Here’s the link to my story about Canada’s healthcare systems— there are several — and how they work. It’s for The American Prospect, a liberal quarterly publication.

I spent more than three months on it, and lost money in the process, as the basic cost of a room in Toronto alone cost twice my allotted travel budget and I spent four days there working.

 

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Love these Muji notebooks, $1.70 apiece.

 

But, rarely, a story is worth it and I hope this one is.

 

There were some challenges along the way, which is normal, some of them less so:

 

— I knew from the start this would cost me money, not earn nearly enough to cover three months’ exclusive attention, plus travel. I applied for grants from two American organizations offering them to journalists and was denied by both. The ugly truth is that I’m making less than a third of what I would have earned for this story in the 1990s, back when journalism paid well, and when my health insurance cost $500 a month, not $1,700.

— I suddenly developed gout (!), an excruciatingly painful right toe condition, making every step painful for weeks.

— At the same time, I got a bad leg infection on my right shin, so bad it really scared me. I finally saw my doctor when I got back home after a three-week absence, and knocked it out with antibiotics. The pain, at its worst, was breathtaking, That, plus gout, made it  hard to focus on interviews that lasted up to two hours. I popped plenty of painkillers!

 

 

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The son of a friend of mine, David Dennis, proved a perfect interview subject, and the lede (top) of the story. photo: Jose R. Lopez

 

— As often happens, I set up a few interviews fully expecting to discuss X…and Y proved to be much more interesting. Gotta roll with the punches!

— One key source remained, even after months, hopelessly elusive, so overworked that his secretary and I got to know one another well, and he sent many apologetic last-minute-cancellation emails. Fortunately, I found two long and helpful videos of him speaking and quoted from them instead.

 

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Sitting in a cafe in Picton, Ontario, interviewing Dr. Margaret Tromp, President of the Society of Rural Physicians of Canada. Photo: Jose R. Lopez

 

— The top-level sources I spoke to all know one another and realized that my reporting was deep and serious in including them all.

— You do eventually reach a point of total saturation, when you think you can’t possibly do another interview, but someone urges you strongly to do so and recommends someone else. I did, and the guy was astounding, possibly the best of the lot.

 

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I got off a bus at 3:30 after an hour’s ride to/from a source to meet another at this downtown Toronto hotel bar at 3:45 so he could run for his train at 4:15. Gotta do whatever’s possible!

 

— I rarely went into each interview with a set list of questions, but kept them more conversational, which allowed for unexpected and welcome diversions and insights.

 

 

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photo: Jose R. Lopez

 

— I bought a huge white-pad to help me visualize what to do next. I decided to structure my story around the Four Ps: patients, providers, pundits/academics and policymakers/politicians.

— Others’ generosity and good humor made this very challenging project not only manageable but a pleasure to work on; every source was helpful and smart, referred me deeper into their expert networks and shared their insights and wisdom.

— Three “first readers” helped me as I revised: a veteran American health and science writer, a young, progressive writer in D.C. and a Canadian editor. Fresh eyes matter!

 


 

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Smaller towns are having a rough time attracting and keeping local physicians…Photo: Jose R. Lopez

 

— It took a lot of self-confidence to tackle this complex topic. So I felt much better when a man who’s an acknowledged leader in this field, when I admitted that I felt a bit overwhelmed by it, said that after decades studying it, he sometimes is as well.

Here’s a fantastic piece — written in 2005 for the journalism website Poynter — on the iceberg theory of journalism…that only a tiny fraction of what you’ll see, hear and read will actually be visible in the final public version, no matter all the invisible hard work that preceded and informed it:

 

What makes a story powerful is all the work — the process of reporting and writing — that lies beneath. It isn’t wasted effort, as many of us fear, but instead constitutes the essential ingredient that give writing its greatest strengths.

As someone prone to turning every story into a project (only because it lets me postpone publication, which will reveal all my inadequacies), I have to keep reminding myself that you can never over-report but you can under-think, under-plan, under-draft and — worst of all — under-revise.

Writing is lonely! Solutions…

 

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There are some great words in there somewhere!

 

By Caitlin Kelly

Sure, some people can write well in a noisy and crowded coffee shop.

Not me.

For truly focused, uninterrupted work, I need quiet, either at home alone or at a library.

Writing really means often wondering — does this sentence/paragraph/chapter even make sense?!

So I’m fascinated by two recent reports of writers meeting face to face to help one another thrive, one in Hollywood and many others more private.

The one in Hollywood is called Rideback.

From The New York Times:

Mr. Lin is betting that Rideback will strengthen and accelerate the creative process. It is a Hollywood twist on WeWork, the shared office space company. Mr. Lin said he was also inspired by Pixar’s “brain trust” sessions, in which directors and writers candidly critique one another’s work, and by “The Medici Effect,” Frans Johansson’s 2004 book about the ignition of the Renaissance.

“If you put a bunch of creative people from different backgrounds into one space, something magical will happen,” Mr. Lin said. “Studio lots used to be just that. You would walk around and everyone would be there. But studio lots aren’t as much fun anymore. They can feel corporate.”

Mr. Lin has 15 employees of his own. They work on the Rideback campus, where they are focused on finding a way forward for the “Lego” series, most likely with a new studio partner. (Universal is one option.) Other front-burner projects include an “Aladdin” sequel and a television spinoff; “Lethal Weapon 5,” with Mel Gibson and Danny Glover signed up to return; movies based on Cirque du Soleil shows; and a remake of the TV series “Walker, Texas Ranger.”

 

 

Writers also meet face to face with trusted peers:

 

Writing is often considered a solitary act, but some writers have figured out a way to make the process more collaborative even before editors, agents and other publishing professionals get involved. Zhang’s group, which includes Alice Sola Kim, Karan Mahajan and Tony Tulathimutte, has been meeting about every month since most of them were undergraduate students at Stanford University. Their sessions are highly structured, with deadlines for submitting drafts and detailed manuscript notes, while other groups gather more informally to talk about their careers, commiserate over deadlines or gossip about the publishing industry.

“You will feel like writing is very lonely and very difficult and very frustrating and that you don’t really know what you’re doing,” said the Chicago-based writer Mikki Kendall. But in a writing group, “you can talk to other people in that place and that are feeling their way out.”

 

I don’t belong to any such group, but I do belong to at least six on-line writers’ groups — and have done so online for many years, still close friends with a few people I only initially knew that way. One, a writer now living in California, and I shared a room at a Boston writing conference never having even met in person, launching a long and treasured friendship.

It really cuts the loneliness to be able to talk your ideas and challenges through with people at the same level of skill and experience and, if you’re lucky, those a few steps beyond you, willing to be generous.

One such group (many are private Facebook groups), is small — only 200 — and only those with a decade’s experience can join. I know, even if I don’t like the answers, I’ll get a quick and candid reply from someone else who’s been around the same block a few times.

 

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Writing books makes me really happy — but also very nervous!

 

The challenge of all writers’ groups, in any form, is the classic writers’ combo of insecurity and ego. I’ve seen several such online groups explode in outrage and vicious bullying. It can get weird and ugly quickly.

And to share, let alone publish your work — poetry, fiction, non-fiction, essays, journalism — demands the courage to have a voice, to put it out there for comment, criticism and potential disagreement. That opens you up, de facto, to potential hurt.

So I have what I consider a bit of a brain trust; to gather feedback on a recent story of 5,000 words — my longest and most complex in a decade — I enlisted the fresh eyes and expertise of three people whose judgment I trust. One is a man half my age who’s very good; one is a woman my age whose writing I deeply admire and the third is a professional book editor. These “first readers” are so helpful and so important.

After revising your work over and over and over and over — you’re tired! You have blind spots. The material has become so familiar you’re likely to miss places that it’s still confusing to someone who has never read it at all. So these trusted peers are so valuable.

I’ve done this for others, of course, helping to review their stories and book manuscripts. I’m honored to do it.

If you’re lucky and talented and persistent, you will find a peer group and they will help steer you through.

Home again

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Much catching up to do!

 

By Caitlin Kelly

Whew!

I hadn’t been gone that long — 23 days — since my six-week vacation in Europe in the summer of 2017, a big splurge worth every penny.

This trip to Canada involved stops in six cities and towns, and eight places I laid my head at night. Jose and I drove up to Ontario from Tarrytown and worked together on a story for the first time, he taking photos and I doing many interviews.

We were lucky and grateful to stay with friends in four of these, saving money on food and lodging and enjoying renewing our friendships. I only get back to Toronto maybe once a year.

Jose drove home and back to work, then I had a solo week in Toronto, meeting with some very high level sources, so was a bit nervous but it went well. The final four days were time to relax and enjoy the city: St. Lawrence Market, a great Italian restaurant called Terroni and three new younger women friends I met at Fireside.

On top of that, I was dealing with a topical treatment for a skin cancer on my right shin, gout (!) and joint pain from the medication I have to take to reduce the risk of another breast cancer. And 80-degree heat.

But I soldiered on.

 

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A view of Niagara Falls as our bus headed south to the train

 

The pain in my leg was excruciating — so this week, at home I finally saw the doctor to find my leg was infected, hence terrible pain. Now on antibiotics.

Home, grateful for silence and my daily and weekly routines.

I’ve lived in this one-bedroom apartment half my life now, but I am always glad to return to it.

 

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Somewhere in upstate New York — it’s a 13-hour journey from Toronto, with two of them spent at the U.S. border — but some of it is gorgeous!

 

Home nurtures me for the next adventure!

The art of interviewing: 11 tips

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By Caitlin Kelly

I’ve been interviewing people for a living — journalistically — for decades.

These include the former female bodyguard for New York City mayor Rudy Giuliani on 9/11 (global exclusive), a female Admiral, Olympic athletes, an NHL coach, convicted felons and just regular people, aka “civilians”, people who may never before have spoken to a journalist and realized that every word counts.

My 11 tips:

Always start and end with a sincere thank-you for their time and attention.

 

Very few people have to speak to us, and for some, it can feel like an ordeal. The more warm, empathetic and human you are, the better it will go. Yes, some interviews are very tough on the subject, even adversarial. That’s also our job. But being an efficient robot is rarely the best way to elicit great stuff.

 

Prepare, prepare, prepare.

 

Nothing is ruder than waltzing into someone’s home, office, or life without knowing who they are, why you are speaking to them and how they fit into your story. Do your homework! It shows respect and will, always, elicit a deeper, richer exchange as a result.

 

Consume everything you can on this person before you speak so you’re easily able to reference their books, videos, TED talks, podcasts, essays, journal articles.

 

Obviously, if you’re writing 300 or 500 words, you can’t afford to do this. But a story of 1,000 words or more means digging deeper. Few moments are as flattering to an interview subject than letting them realize you’ve really done your prep on them and their ideas and accomplishments. Sometimes I go all the way back to college or high school yearbooks and friends from those years.

It only appears social.

 

A great interview can be conversational or feel like it. There are times I just lay down my pen and stop writing,  preferring just to listen, watch their body language and take a breather. I also, when it feels legitimate, may share a personal detail with them that’s relevant to the story and its focus. This can build trust. Why would anyone just spill it all to a stranger?

 

Allow at least 30 minutes unless you truly only need a very quick quote.

 

My interviews are routinely 30-45 minutes, often an hour, sometimes 90 minutes and (whew!) rarely, two hours. After that I am utterly whipped and so are they.

 

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One of my old notebooks — coffee stains and all!

Tape or take notes on paper or computer — whatever works best for you — as long as you are accurate!

 

Do what works for you. Fact-check!

 

Make sure, whenever possible, no one — pets, children, the mailman, an assistant, your cellphone — intrudes and interrupts.

 

This is a sacred space. Don’t check your phone! Create intimacy and trust. Focus.

 

Allow plenty of time beforehand, certainly when doing this face to face, to find the right place, settle in, use the washroom and steady your nerves.

 

We all have those “ohhhhhh shit!” moments — your kid melts down as you’re leaving the house, you feel ill, the bus/train/subway is slow or late or cancelled. Give yourself plenty of time to get calm. Your subject needs to feel confidence in you.

 

Ask them who else they consider essential for you (and your audience) to understand and explain the story properly.

 

If you’re done your job well, they’ll share some great intel they might not give someone less skilled.

 

 

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What’s the story’s direction?

If this feels comfortable, consider sharing the focus, length and direction of your story, and maybe some of the other sources you’re speaking to.

 

Some journalists totally refuse to do it. I do this, judiciously, for strategic reasons.

 

Ask them, at the end, what you failed to ask.

 

Always.

I also coach other writers to excellence for an hourly fee. Details here!

Ten tips for freelancers

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At its best, time for a long lunch out! This is L’Express in Montreal

 

By Caitlin Kelly

Some call it — ugh! — the “gig economy” as if we were all hep-cats pounding some drum-set in the basement.

Freelance life, if it’s your sole income, really means self-employment, running a small business. While freelance sounds hip and cool and breezy — being a small business owner sounds, and is, much more serious.

I’ve been full-time freelance since 2006, but have done it for long stretches before that.

Some tips:

 

Choose your clients very carefully

It’s tempting, especially when you’re starting out, to lunge at every opportunity. It’s not a good habit to develop. People can smell desperation and will, sadly, take advantage of it with low rates, slow payment, awful contracts and abusive behavior. Do your due diligence whenever possible so you can avoid these toxic monsters.

 

 

Cultivate a wide, deep network of peers, fellow professionals whose work, work ethic and character you know well.

 

See point one! Without a network, how would you know? With a network, you will be more able to pick and choose which opportunities are best for you and your skills. Once you have a posse, you can safely refer work to them when you’re swamped, and vice versa.

 

 

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Keep at least three months of basic living expenses in the bank or have access to a line of credit.

Very few clients pay quickly. The best will pay 50 percent up front, or one-third, but this varies by industry. Late payments are a huge source of stress.

 

Know your legal rights! Read every contract carefully and amend them whenever possible. In New York State, the law protects freelancers who get stiffed.

 

Some contracts have become virtually unmanageable. Worst case? Walk away.

 

Negotiate. Every time.

 

No one is ever going to just hand you bags ‘o cash. Ask for more money, more time, a larger travel budget, social media boosts, etc.

 

Keep growing and building your skills.

 

Your competitors are!

Attend conferences, take classes and workshops and get some individual coaching. Listen to podcasts and Ted talks and YouTube. Read books. Take a college or university night class. The wider and stronger your skills, the more options you have to earn multiple revenue streams.

Yes, I coach!

 

 

 

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Get out into nature. Slow down. Rest.

Take time off!

 

Without rest, recharge and respite, burnout is inevitable. For all the putative freedom — no commute! work in a T-shirt! — this is often a highly stressful way to earn a living. Some people with “real” jobs, some of whom have paid vacations and paid holidays and paid sick days, get time off.

Freelance? The only people who know when it’s time to take a break is us.

 

Set clear boundaries between work and rest. Keep them!

 

I don’t work nights or weekends. If I do, I take time off in recompense. I keep a fairly standard work schedule, 10:00 a.m. to 5pm. I don’t like early mornings so will only schedule something before 10:00 a.m. if it’s really urgent — like working with someone in Europe (five to six hours ahead of me in New York.)

Get out of your lane!

 

I hate this new admonition — stay in your lane! All it does is ensure we don’t listen to, look at and engage with others who are different from us, in politics, interests and vocation. If all you ever do is talk to other writers or fellow freelancers, you’ll quickly die of boredom! Go to museums and parties and gallery openings and concerts and stuff your kids are into (Fortnite!) to keep your brain open to new ideas and ways of thinking.

 

 

 

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Remember in your heart of hearts that your skills and work bring value

 

Freelancing can be really lonely and really isolating. If you work alone at home for years, and have no kids or pets and your partner or spouse works out of the home, it’s very easy to start to feel feral and ignored. Make an “attaboy” file of every bit of praise and kindness so on days when everything gets rejected you recall why you’re good at this stuff and things will improve.

Here’s a recent interview with an American freelance writer, a woman of color.

The writing life, this week…

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Still hoping to sell a third book proposal…

 

By Caitlin Kelly

Whew.

My livelihood, like that of many full-time freelancers, is intellectual piecework. Instead of sewing pockets on jeans in a factory, I chase assignments, negotiate fees and conditions (some now paying 60 days after invoice), read, sign and amend contracts, fill out the paperwork to get paid.

I also…oh thatwrite.

The past week has been a really exhausting roller-coaster.

After agreeing to a shitty fee of $750 for 1,400 words, (ironically for an outlet focused on journalism), I turned in my story, which required six interviews and reading a new book on the subject of the piece. Endless email mis-communication ensued until the very young female editor called me — at 4:55 on Friday afternoon — to find out what was going on.

Thanks to texting and emojis and a life lived only screen-mediated, many young editors and writers now exhibit a bizarre and pronounced fear of speaking by phone. Some simply don’t know how to react, civilly, in real time.

This did not go well.

She was rude, condescending, dismissive, constantly interrupting me. Two hours later she killed the story, costing me the entire fee.

Since that shitshow, I successfully pitched another idea, an essay, to a website, got a quick rejection for a New York Times op-ed, accepted three more assignments from a specialty magazine and — to my amazement — got a green light on a story that had been widely rejected for months.

I also pitched the Financial Times, allure.com, another NYT editor and Real Simple (no go) — and wrote that time-sensitive essay in 2 days.

Losing $750 I expected means postponing a dental visit, getting a new pair of glasses, paying down credit card debt. It’s not a joke. This is not a hobby.

One of the greatest challenges, for me, is just moving on after a really bad experience. That baby editor’s behavior was appalling — but it’s not my issue.

I know the excellent skills I offer. I know the people who value them.

Whatever happens, the bills keep showing up, every month, thousands of dollars needed to pay them all, in full, on time.

Like regular people.

 

This is not a life for the fragile.

Where do story ideas come from?

 

 

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Love this bookstore kitty! Sometimes my best ideas come to me from taking a hooky day, fleeing the apartment and computer

 

By Caitlin Kelly

By this, I mean ideas for blog posts and for journalism and non-fiction.

Broadside now has more than 2,000 posts, beginning on July 1, 2009, when I chose to make reference to my native Canada, as it’s Canada Day.

Since then, as longtime readers know, I’ve touched on a wide range of subjects; the two posts readers choose every day (!?) are about my meeting Queen Elizabeth aboard the Royal yacht Brittania at the end of my covering a Royal Tour as a Globe & Mail reporter and what it was like to be sent away to boarding school when I was eight, the youngest child at my Toronto school.

My theory about why those two are so steadfastly popular, day after day, year after year — both are highly specific life events many are curious about and few, certainly meeting the Queen, will experience.

I blog a lot on writing, journalism, travel and how and why people behave as they do, inspired by pretty much anything: an overheard remark in a cafe, a walk in the woods or a conversation with my husband.

My goal, here, is to engage you and, when possible, spark a bit of lively conversation.

Some of my journalism work arrives as assignments, i.e. an editor chooses me to write a story for them. But much of the time it’s up to me to gin up some fabulous idea and sell it to someone with a decent budget, for me usually no less than $1,200 to $1,500. I do occasionally write for less, but it has to be quick and easy.

 

 

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Our recent trip to Santa Fe gave me some fresh ideas

A few stories I came up with and how:

 

In June 2018 I got a diagnosis of DCIS, an early and treatable form of breast cancer. Like many events in my life, it became fodder for several stories. This one, in The New York Times, about medical touch and this one, on the UK website, The Pool, about how many people have no idea how to talk to people who get cancer.

I watch Jeopardy a lot and enjoy the variety of contestants; one man mentioned a highly unusual Brooklyn children’s charity he volunteers with; I recently sold a story about it to The New York Times about an after school program focused on boat building.

 

 

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As someone who loves to travel but hates turbulence, I did a lot of deep research on it for this piece (again) for The New York Times’ travel section. I got the idea because, as they say in journalism, three’s a trend — and I’d noticed three recent reports of commercial flights having to divert from their original destination because of turbulence.

For Marriott magazine, I focused on one of my passions, setting a beautiful table for entertaining.

And, because so many journalists get fired — 1,000 lost their jobs recently across a number of digital platforms and print media — I pitched this fun piece about the long-standing friendships that often evolve and last for decades from these crazy workplaces. It ran on the website for the Poynter Institute, which teaches journalism skills to working professionals. It came about because my very first staff job, in my 20s, led to a friendship with the now only remaining staff photographer for the Globe & Mail — when the building we’d worked in together was torn down (of course) for new condos, Fred grabbed a souvenir white brick for me.

I’m still trying, so far without success, to sell a fantastic story from rural France, about a family run manufacturer in business 155 years.

In the past week — whew! —  I pitched five story ideas: one came out of a personal experience (what’s called a “service piece”, not very alluring but of service to the reader through practical tips) to Real Simple magazine; a personal health-focused essay to Self; a big deep dive (i.e. lots of original reporting) to American Prospect; two ideas to The New York Times Magazine and another to a Times editor in the Metropolitan section.

I also did six interviews by phone for my first story for cjr.org, the digital side of Columbia Journalism Review; the idea came out of a new book my former book editor tweeted about.