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BUILDING A SUCCESSFUL FREELANCE CAREER
Lecture #5
THE BUSINESS OF WRITING FOR MONEY—PART 2
In the last part of this series, we discussed the elements of getting your article or story under contract. But once that’s done, and you’re pleased with your deal, it’s time to get organized!
A little more about experts.
One of the most difficult things for a beginning freelancer to do is to call people to get information. It can be intimidating to ask a stranger questions about a subject you know little about. As you progress in your freelance career, it will become easier. But at the beginning, here are some tips to make an expert feel at home and draw out interesting information for your article.
1. Research a little about the topic first. The trick with interviewing experts is to know "just enough to be dangerous." It’s a GOOD thing to only have a little information about a topic, because then you’re not subject to preconceptions. For example, let's say you're writing an article about the Seminole native American tribe, a great question to draw out an expert would be, "Were the Seminole offshoots of another tribe, like the Navajo?" The expert will be quick to point out this is not the case, and explain how they came about. The only problem you’ll have after that is keeping them on topic!
2. Ask a little about the expert personally. That doesn’t mean "Where do you live?" or "What’s your wife’s name?" but along the lines of "So, what caused you to get involved in researching the history of the Seminole?" Often, you’ll get some great background stories that can be added as an aside in the article to generate interest in the reader. For example, "Professor Oakland discovered a love for the Seminole tribe when he learned his great-great-great-grandmother was from the tribe. It was a startling discovery that his family never knew, and he wanted to explore his roots." Anothe great question to ask it, "What's the most interesting thing you've discovered about [insert topic]. It might not apply to your article, but might spark an idea for an entirely different one!
3. Always ask the expert for names of others who might have more information. Not every expert knows everything about a subject. But the few at the top of their field often know each other. I can’t tell you how many times I’ve gotten tips for TERRIFIC experts from other experts. You never know what hobbies or interests famous people have, so to discover that a physics genius like Stephen Hawking (as an example, I'm totally making this up) is also an expert at Soduku could lead to an interview that will knock your editor’s socks off!
4. Record the conversation if you’re able. That can be as simple as putting your phone on speaker and having a tape recorder nearby—or as sophisticated as a computer program that works with an internet phone system. Always ask the permission of the person you’re interviewing. If they prefer NOT to be recorded, respect that wish and take copious notes. If the expert declines being taped, then don’t hesitate to ask the person to slow down as they’re speaking so you can have time to write. Accuracy is important when quoting people.
7. A word of warning. Some experts will be of the "controversial" sort—such as when you’re doing an investigative piece where the person’s words are going to raise the reader’s ire and draw letters to the magazine. One of the reasons for a recorded conversation is that the expert can’t later "take back" their words. It’s these experts who are going to want to read your article and see how you’ve portrayed them in print. It’s a case by case decision on whether to let them read the story. If you’d prefer not to allow this, you’re entitled. But realize that your editor MIGHT contact them. This is called VETTING. An editor vets an article by contacting the people you’ve quoted to ask if they said what you claim they did. Not every article is vetted—it’s random, like a drug test. So long as you’re careful in your quoting, you have nothing to fear. But I always include a CONTACT SHEET along with the article, which states the people contacted, the company they work for and the phone number where I reached them. Then, if the editor wishes to contact the person, they may. If an expert was particularly difficult to work with, I usually will warn the editor in the article’s accompanying email, by stating that the party didn’t like the way I reported his words. Then I leave it up to the editor’s discretion whether to include what I wrote. As a writer, that’s all you can do.
Naming your file
Since you’re just starting out, you’re going to find it’s easier to develop good habits, than later break bad ones. One of the first, best things you can do is establish a method to your filing system on your computer to easily find things later. I tend to break things down very simply, using multiple subfolders on the computer. For example, I’ve established the following subfolders (just a few of many) on my computer:
Articles
Deer articles
Deer Hearing
Meeker hunting destination
Fish articles
Aurora Reservoir
Lake Granby
Brownwood Reservoir
Forecasts
Turkey
Pheasant
Elk
Interviews
Hatchery Chief
Vacation articles
Four Corners
Etc., etc. Within each sub-folder, I’ll place the article as typed, any proofs the editor might send (since some editors do offer to have you proof the article), my contact list and any notes I typed of the interviews. By including everything under an "Articles" folder, it’s easy to later search, and by grouping them by type, I can find all related experts on short notice.
Next is naming the file you SEND the editor. Keep it simple, since the editor might not be MOCKING UP (putting the actual articles on the page) for weeks or months after your deadline. I usually name mine something like: DOYOUHEARWHAT.CCLAMP.0904.doc. This is: 1) The title of the article; 2) Your first initial and last name; and 3) The month and year the article will be published. This helps both your editor (who can easily find the file) and later, you (to remember when you did an article and what it was called).
The Joys and Sorrows of Editing
Once your article has been sent to a magazine, it belongs to them. The editor may edit it at their own discretion—for length, or phrasing or even tone (such as if your tone is disapproving of a subject matter, and the magazine doesn’t take sides in the issue.) Recognize from the moment you start to write for money that you’ve got a co-author. The editor is going to change your words, and you might not know it until you see the copy in the magazine. They just will. And those words belong to THEM. In copyright law, it’s considered a "compilation." Here’s a link to the definition on the copyright office’s website: http://www.copyright.gov/register/tx-compilations.html . In many cases, the writer will really like how the editor rephrased things and would like to include them when it’s later (hopefully) sold for reprint. But that requires the editor’s permission, which they will seldom give. Usually, once I’ve sold an article to a second magazine, I’ll include my ORIGINAL manuscript along with the article as printed, to the new editor. There’s nothing stopping that editor from making similar changes, after all.
That’s all part of the game.
Saving your Evidence
In effect, every bit of research for an article is evidence that you performed your job appropriately. Not only is it good to have on hand if the editor asks for more information on a particular matter during editing, but it’s really handy for later articles on similar topics. One of the reasons I type up a contact form is that a year after I wrote an article, I can search back on my computer to find the person’s contact information. That’s a lot quicker than digging through papers.
The next thing you need is a "Tickle File." It’s a strange name, but it’s what a living calendar is considered. You’re going to need to make a diary of dates when things are due, including: 1) The article’s deadline; 2) The last day of the first rights period (so you can submit for reprints); 3) The date payment is due.
Whether it’s on a calendar program like in Microsoft Outlook (or Outlook Express) or written on a paper/plastic calendar on the wall, you MUST learn to write down and watch for important dates in the writing biz.
And, of course, that leads us to PAPER FILE FOLDERS! It’s good practice to have a file folder for each article you write. In that folder, you can put: 1) A copy of your query; 2) A copy of the assignment; 3) A copy of your notes, research and interviews; 4) A copy of the final submitted article; 5) The check stub (or a photocopy) that made payment; 6) The tear sheet. You can see how having the entire history of the article in one place will later make it easy to find things related to that assignment. But if you become successful, the ease of managing one file becomes a nightmare of accounting for taxes. So, you should ALSO have two more "overall" folders: A) A "clips" file with either an original, or a color copy of the same clip that’s in your article file; and B) A payments file, with a copy of each check (or stub) you’ve received during the year. Your accountant will want to see these, because:
It's Tax Time!
Yeah, as painful as it is—if you live or work in the U.S., making money at freelance writing means that the I.R.S. will want their cut. There are several terms that you need to learn:
1. Form W-9 - This is formally known as a "Request for Taxpayer Identification Number and Certification." This is nothing more than a request for your name, your mailing address and your social security number or taxpayer identification number (in case you decide to make your freelance business into a company—and we’ll discuss that in a minute.) Here’s a link to the IRS’s website so you can download each of the documents I’ll mention here so you can look at them: http://www.irs.gov/formspubs/lists/0,,id=97817,00.html
A publisher is required to obtain Form W-9 from you in case they wind up paying you more than $600.00 in a given calendar year. Memorize that figure, because it’s when you’ll discover the next form in the freelance writer’s repertoire.
2. Form 1099 - A 1099 form is like a W-2 you might get from your employer, but it only deals with GROSS income. A publication is required to provide you one of these if you grossed $600 in a year. (It’s also sent to the IRS, by the way.) But magazines don’t take out federal, state or local taxes. You’re responsible for taking care of that yourself. Even if you only make $25 from an article, the IRS expects that you’re going to report that income. And if you make over $600, then your accountant will want to see the 1099. But where do you report it on your taxes?
3. Schedule C - Welcome to the "Profit or Loss From Business (Sole Proprietor) attachment to your 1040 Tax Return. If all you’ve ever done is the 1040-EZ, sorry. No go. It’s time to move up to the big form. But, this form is really nice for several reasons. First, you get to offset your EXPENSES of writing against the income. So, quite possibly, you won’t owe tax (at first.) Some of the things that you can include as expenses are (and this is taken off my taxes from this year—not all of it applies to articles, since I also write books, but you’ll get the idea):
Postage/FedEx/UPS (This is for mailing queries, shipping photographs, etc.)
Printing Expense (This includes photography development, too)
Website Maintenance (See? There’s a useful thing right there! You get to deduct your website)
Office Supplies (Paper, toner, flash drives, blank CDs, etc.)
Dues & Subscriptions (Such as Publisher's Weekly or any magazines you subscribe to learn the market!)
Professional Fees (Your tax preparation, any attorney advice, etc.)
Research (magazines on the shelf you hope to query to, or books on topics to write about)
Seminars/Professional Development (This workshop, if you were paying for it!)
Meals & Entertainment (Want to meet your editor and take him/her out to lunch? Deduct it!)
Conferences (Different type than seminars–conferences are often promotional)
Hotels & Lodging (Gotta stay somewhere at the conference, after all)
So, by the time you’ve deducted your expenses, you might not have much income for the year (at least that you pay tax on.) And check with your accountant to see about equipment capitalization for 2013. I believe there’s still a program where you can buy equipment and write it off in a single year against income. Want a new computer to write on? Now’s your chance!
Miscellaneous
Getting Deadbeats to Pay! Yeah, like any other small business owner, you’ll come upon occasions where the magazine doesn’t make payment promptly. When you’re working with the larger publications, often it’s a matter of miscommunication rather than malice. Often all that’s needed is a quick email. If that doesn't work, then you need to go back to your contract or email agreement. Are there instruction how to handle the situation? Often, in a written contract, it gives you a person to contact for payment disputes. You might have to prove that the actual article was published (which is why a clips file is important). If it WASN'T published, why not? Should you be getting a kill fee instead? Sometimes, a formal letter, on letterhead, sent by certified mail is the next step. This is one the reasons why writing for websites can be tricky, though---if they close shop, who do you contact? An attorney is a last resort, since you're still hoping to salvage the relationship with the editor. Above all, DON'T BLAME THE EDITOR. They seldom have anything to do with payment, and keeping the editor on a friendly basis might speed up delivery of the check, because they can work from within.
Promotional Use of Articles. People frequently ask me about reprints and use of published materials on websites. The answer is: There’s no good answer. A lot depends on the contract you signed with the publication. READ IT. That’s your best answer. If the publication took FNAR with a six month cap, then after the six months is up, you may feel free to post it on your website. If they took All Rights, then no. You’d have to get specific permission from the publication to do that.
Selling reprints (once permitted) is done in the same way you sold the original query. In fact, you can use the SAME query to sell it to a second publication. But you must tell the second publication that you’re offering REPRINT rights only. To some publications, that makes a difference. You’ll probably get a lot of "no thanks" responses at first, because national publications prefer only "first-run" articles. However, regional publications or local newspapers are often happy to reprint a national level article. It’s prestigious for them. Generally, you can go down, but not up—meaning that you can sell national-level down, but not local-level up. So start big if the feature is of more than regional interest. The nice part is that once you’ve published a dozen or so articles on the same topic, you’re a "name" and it’s much easier to sell your reprints. I have several articles I’ve sold three or four times. Every time it’s not much money, but it’s FREE. I’ve already done the work. It’s just the matter of researching the magazine information and shipping the query. If it doesn’t sell, no big deal. I’ve made money already. But every one I can sell is that much more money for the same work—meaning my hourly wage on that particular article goes up over time.
Okay, that's it for today. Hopefully, this is helping some of you as you start your freelance business.
Lecture #1 - Getting Started
Lecture #2 - How the Magazine Industry Works
Lecture #3 - Creating a Selling Query
Lecture #4 - The Business of Writing for Money, Part 1
Lecture #5 - The Business of Writing for Money, Part 2
Lecture #6 - Conclusion - Finding your Markets
Lecture #5
THE BUSINESS OF WRITING FOR MONEY—PART 2
In the last part of this series, we discussed the elements of getting your article or story under contract. But once that’s done, and you’re pleased with your deal, it’s time to get organized!
A little more about experts.
One of the most difficult things for a beginning freelancer to do is to call people to get information. It can be intimidating to ask a stranger questions about a subject you know little about. As you progress in your freelance career, it will become easier. But at the beginning, here are some tips to make an expert feel at home and draw out interesting information for your article.
1. Research a little about the topic first. The trick with interviewing experts is to know "just enough to be dangerous." It’s a GOOD thing to only have a little information about a topic, because then you’re not subject to preconceptions. For example, let's say you're writing an article about the Seminole native American tribe, a great question to draw out an expert would be, "Were the Seminole offshoots of another tribe, like the Navajo?" The expert will be quick to point out this is not the case, and explain how they came about. The only problem you’ll have after that is keeping them on topic!
2. Ask a little about the expert personally. That doesn’t mean "Where do you live?" or "What’s your wife’s name?" but along the lines of "So, what caused you to get involved in researching the history of the Seminole?" Often, you’ll get some great background stories that can be added as an aside in the article to generate interest in the reader. For example, "Professor Oakland discovered a love for the Seminole tribe when he learned his great-great-great-grandmother was from the tribe. It was a startling discovery that his family never knew, and he wanted to explore his roots." Anothe great question to ask it, "What's the most interesting thing you've discovered about [insert topic]. It might not apply to your article, but might spark an idea for an entirely different one!
3. Always ask the expert for names of others who might have more information. Not every expert knows everything about a subject. But the few at the top of their field often know each other. I can’t tell you how many times I’ve gotten tips for TERRIFIC experts from other experts. You never know what hobbies or interests famous people have, so to discover that a physics genius like Stephen Hawking (as an example, I'm totally making this up) is also an expert at Soduku could lead to an interview that will knock your editor’s socks off!
4. Record the conversation if you’re able. That can be as simple as putting your phone on speaker and having a tape recorder nearby—or as sophisticated as a computer program that works with an internet phone system. Always ask the permission of the person you’re interviewing. If they prefer NOT to be recorded, respect that wish and take copious notes. If the expert declines being taped, then don’t hesitate to ask the person to slow down as they’re speaking so you can have time to write. Accuracy is important when quoting people.
7. A word of warning. Some experts will be of the "controversial" sort—such as when you’re doing an investigative piece where the person’s words are going to raise the reader’s ire and draw letters to the magazine. One of the reasons for a recorded conversation is that the expert can’t later "take back" their words. It’s these experts who are going to want to read your article and see how you’ve portrayed them in print. It’s a case by case decision on whether to let them read the story. If you’d prefer not to allow this, you’re entitled. But realize that your editor MIGHT contact them. This is called VETTING. An editor vets an article by contacting the people you’ve quoted to ask if they said what you claim they did. Not every article is vetted—it’s random, like a drug test. So long as you’re careful in your quoting, you have nothing to fear. But I always include a CONTACT SHEET along with the article, which states the people contacted, the company they work for and the phone number where I reached them. Then, if the editor wishes to contact the person, they may. If an expert was particularly difficult to work with, I usually will warn the editor in the article’s accompanying email, by stating that the party didn’t like the way I reported his words. Then I leave it up to the editor’s discretion whether to include what I wrote. As a writer, that’s all you can do.
Naming your file
Since you’re just starting out, you’re going to find it’s easier to develop good habits, than later break bad ones. One of the first, best things you can do is establish a method to your filing system on your computer to easily find things later. I tend to break things down very simply, using multiple subfolders on the computer. For example, I’ve established the following subfolders (just a few of many) on my computer:
Articles
Deer articles
Deer Hearing
Meeker hunting destination
Fish articles
Aurora Reservoir
Lake Granby
Brownwood Reservoir
Forecasts
Turkey
Pheasant
Elk
Interviews
Hatchery Chief
Vacation articles
Four Corners
Etc., etc. Within each sub-folder, I’ll place the article as typed, any proofs the editor might send (since some editors do offer to have you proof the article), my contact list and any notes I typed of the interviews. By including everything under an "Articles" folder, it’s easy to later search, and by grouping them by type, I can find all related experts on short notice.
Next is naming the file you SEND the editor. Keep it simple, since the editor might not be MOCKING UP (putting the actual articles on the page) for weeks or months after your deadline. I usually name mine something like: DOYOUHEARWHAT.CCLAMP.0904.doc. This is: 1) The title of the article; 2) Your first initial and last name; and 3) The month and year the article will be published. This helps both your editor (who can easily find the file) and later, you (to remember when you did an article and what it was called).
The Joys and Sorrows of Editing
Once your article has been sent to a magazine, it belongs to them. The editor may edit it at their own discretion—for length, or phrasing or even tone (such as if your tone is disapproving of a subject matter, and the magazine doesn’t take sides in the issue.) Recognize from the moment you start to write for money that you’ve got a co-author. The editor is going to change your words, and you might not know it until you see the copy in the magazine. They just will. And those words belong to THEM. In copyright law, it’s considered a "compilation." Here’s a link to the definition on the copyright office’s website: http://www.copyright.gov/register/tx-compilations.html . In many cases, the writer will really like how the editor rephrased things and would like to include them when it’s later (hopefully) sold for reprint. But that requires the editor’s permission, which they will seldom give. Usually, once I’ve sold an article to a second magazine, I’ll include my ORIGINAL manuscript along with the article as printed, to the new editor. There’s nothing stopping that editor from making similar changes, after all.
That’s all part of the game.Saving your Evidence
In effect, every bit of research for an article is evidence that you performed your job appropriately. Not only is it good to have on hand if the editor asks for more information on a particular matter during editing, but it’s really handy for later articles on similar topics. One of the reasons I type up a contact form is that a year after I wrote an article, I can search back on my computer to find the person’s contact information. That’s a lot quicker than digging through papers.
The next thing you need is a "Tickle File." It’s a strange name, but it’s what a living calendar is considered. You’re going to need to make a diary of dates when things are due, including: 1) The article’s deadline; 2) The last day of the first rights period (so you can submit for reprints); 3) The date payment is due.
Whether it’s on a calendar program like in Microsoft Outlook (or Outlook Express) or written on a paper/plastic calendar on the wall, you MUST learn to write down and watch for important dates in the writing biz.
And, of course, that leads us to PAPER FILE FOLDERS! It’s good practice to have a file folder for each article you write. In that folder, you can put: 1) A copy of your query; 2) A copy of the assignment; 3) A copy of your notes, research and interviews; 4) A copy of the final submitted article; 5) The check stub (or a photocopy) that made payment; 6) The tear sheet. You can see how having the entire history of the article in one place will later make it easy to find things related to that assignment. But if you become successful, the ease of managing one file becomes a nightmare of accounting for taxes. So, you should ALSO have two more "overall" folders: A) A "clips" file with either an original, or a color copy of the same clip that’s in your article file; and B) A payments file, with a copy of each check (or stub) you’ve received during the year. Your accountant will want to see these, because:
It's Tax Time!
Yeah, as painful as it is—if you live or work in the U.S., making money at freelance writing means that the I.R.S. will want their cut. There are several terms that you need to learn:
1. Form W-9 - This is formally known as a "Request for Taxpayer Identification Number and Certification." This is nothing more than a request for your name, your mailing address and your social security number or taxpayer identification number (in case you decide to make your freelance business into a company—and we’ll discuss that in a minute.) Here’s a link to the IRS’s website so you can download each of the documents I’ll mention here so you can look at them: http://www.irs.gov/formspubs/lists/0,,id=97817,00.html
A publisher is required to obtain Form W-9 from you in case they wind up paying you more than $600.00 in a given calendar year. Memorize that figure, because it’s when you’ll discover the next form in the freelance writer’s repertoire.
2. Form 1099 - A 1099 form is like a W-2 you might get from your employer, but it only deals with GROSS income. A publication is required to provide you one of these if you grossed $600 in a year. (It’s also sent to the IRS, by the way.) But magazines don’t take out federal, state or local taxes. You’re responsible for taking care of that yourself. Even if you only make $25 from an article, the IRS expects that you’re going to report that income. And if you make over $600, then your accountant will want to see the 1099. But where do you report it on your taxes?
3. Schedule C - Welcome to the "Profit or Loss From Business (Sole Proprietor) attachment to your 1040 Tax Return. If all you’ve ever done is the 1040-EZ, sorry. No go. It’s time to move up to the big form. But, this form is really nice for several reasons. First, you get to offset your EXPENSES of writing against the income. So, quite possibly, you won’t owe tax (at first.) Some of the things that you can include as expenses are (and this is taken off my taxes from this year—not all of it applies to articles, since I also write books, but you’ll get the idea):
Postage/FedEx/UPS (This is for mailing queries, shipping photographs, etc.)
Printing Expense (This includes photography development, too)
Website Maintenance (See? There’s a useful thing right there! You get to deduct your website)
Office Supplies (Paper, toner, flash drives, blank CDs, etc.)
Dues & Subscriptions (Such as Publisher's Weekly or any magazines you subscribe to learn the market!)
Professional Fees (Your tax preparation, any attorney advice, etc.)
Research (magazines on the shelf you hope to query to, or books on topics to write about)
Seminars/Professional Development (This workshop, if you were paying for it!)
Meals & Entertainment (Want to meet your editor and take him/her out to lunch? Deduct it!)
Conferences (Different type than seminars–conferences are often promotional)
Hotels & Lodging (Gotta stay somewhere at the conference, after all)
So, by the time you’ve deducted your expenses, you might not have much income for the year (at least that you pay tax on.) And check with your accountant to see about equipment capitalization for 2013. I believe there’s still a program where you can buy equipment and write it off in a single year against income. Want a new computer to write on? Now’s your chance!
Miscellaneous
Getting Deadbeats to Pay! Yeah, like any other small business owner, you’ll come upon occasions where the magazine doesn’t make payment promptly. When you’re working with the larger publications, often it’s a matter of miscommunication rather than malice. Often all that’s needed is a quick email. If that doesn't work, then you need to go back to your contract or email agreement. Are there instruction how to handle the situation? Often, in a written contract, it gives you a person to contact for payment disputes. You might have to prove that the actual article was published (which is why a clips file is important). If it WASN'T published, why not? Should you be getting a kill fee instead? Sometimes, a formal letter, on letterhead, sent by certified mail is the next step. This is one the reasons why writing for websites can be tricky, though---if they close shop, who do you contact? An attorney is a last resort, since you're still hoping to salvage the relationship with the editor. Above all, DON'T BLAME THE EDITOR. They seldom have anything to do with payment, and keeping the editor on a friendly basis might speed up delivery of the check, because they can work from within.
Promotional Use of Articles. People frequently ask me about reprints and use of published materials on websites. The answer is: There’s no good answer. A lot depends on the contract you signed with the publication. READ IT. That’s your best answer. If the publication took FNAR with a six month cap, then after the six months is up, you may feel free to post it on your website. If they took All Rights, then no. You’d have to get specific permission from the publication to do that.
Selling reprints (once permitted) is done in the same way you sold the original query. In fact, you can use the SAME query to sell it to a second publication. But you must tell the second publication that you’re offering REPRINT rights only. To some publications, that makes a difference. You’ll probably get a lot of "no thanks" responses at first, because national publications prefer only "first-run" articles. However, regional publications or local newspapers are often happy to reprint a national level article. It’s prestigious for them. Generally, you can go down, but not up—meaning that you can sell national-level down, but not local-level up. So start big if the feature is of more than regional interest. The nice part is that once you’ve published a dozen or so articles on the same topic, you’re a "name" and it’s much easier to sell your reprints. I have several articles I’ve sold three or four times. Every time it’s not much money, but it’s FREE. I’ve already done the work. It’s just the matter of researching the magazine information and shipping the query. If it doesn’t sell, no big deal. I’ve made money already. But every one I can sell is that much more money for the same work—meaning my hourly wage on that particular article goes up over time.
Okay, that's it for today. Hopefully, this is helping some of you as you start your freelance business.
Lecture #1 - Getting Started
Lecture #2 - How the Magazine Industry Works
Lecture #3 - Creating a Selling Query
Lecture #4 - The Business of Writing for Money, Part 1
Lecture #5 - The Business of Writing for Money, Part 2
Lecture #6 - Conclusion - Finding your Markets
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