Tag-Archive for ◊ A Month of Marketing ◊

11 Dec 2009 The Promise of the Pitch

I’m in marketing mode again this week, after my pitching yielded results right in the first week of December and gave me some extra momentum to push. It’s one of those periods when I’m not as concerned about the writing part (and struggling with it a little bit, actually), but am enjoying tremendously coming up with ideas and sending them out in the world.

Many writers, when they’re first starting out, think of querying or pitching as a necessary step to get established, which is, of course quite true. What most people assume though, is that once they’re a bit established either with a publication or with their career in general, the pitching levels will go down and editors will start coming to them regularly with stories.

That is also true, but I think it’s important to remember that as a freelancer (or any journalist, really), you’re never going to stop pitching. The pitches themselves might change– your editor may be cool with a one-line e-mail or a quick phone call instead of a 500-word outline– but you’re still going to be keeping an eye out for interesting stories, and still coming up with ways to convince your editors why they should publish them. This is especially true if you work outside of the country where the publication is based, or if you’re more interested in writing on topics that appeal to you.

Would it surprise you if I told you that I’ve been sending one pitch a day for the past month? (I have three deadlines next week, though, and should probably STOP!)

Actually, part of my yearly goals is to make one marketing effort a day (if I’ve made five in one day though, I’m off the hook for the next four days), so that even if editors are taking their own sweet time to assign stories, I’m not sitting idle. More than that, as I’ve discussed on the blog before, I’m really interested on focusing on subjects that interest me, and that maybe haven’t been written about a lot already. Then again, if my editors are sitting in the US or UK, I’m going to have a much more informed idea of what’s happening in this country, and why their readers might be interested in knowing about it. I’m more likely to come up with untold stories than they are because they’re dependent on the media to get them the information, whereas I’m working my sources.

Regardless of the reasons, the truth is, I quite enjoy pitching for the most part. Finding an idea that gets you excited and then writing to an editor with the potential that idea holds, is the honeymoon phase of the project– when all possibilities exist and anything could happen.

I’m currently starry-eyed about a story idea that I think has the potential for a series in one of the big international newspapers. For now, as I pitch, I’ll dream of how it’s going to turn out. I’ll deal with the reality once the editor gets back to me on it.

07 Jul 2009 Match or Mismatch?

How do you study magazines before querying them? How does this help you put your query together and find the right kind of article to query to that magazine? That’s something I have always wondered.


Interesting question, and the answer to which has become much easier in the last two years. Reading a publication cover to cover (several issues preferably) is quite important, in my opinion, because without that, it’s very difficult to ascertain what may or may not fit. Are the articles one-pagers or do they run for several thousand words? How important is photography? What is the tone– serious or fun or a mix of both?

As a reader, you already know the answers to those questions, which is why you subscribe to a magazine. But if there’s a publication that’s new to you, it’s important to understand what they’re trying to achieve and how you can contribute to that.

It’s becoming possible to find all this out exclusively on the Internet these days, though I do recommend picking up at a copy (or asking for a pdf). I follow magazines and newspapers on Twitter to see what kind of articles they’re publishing, how long they run, how many people they interview, etc. I’ll also spend a substantial time on their website, again reading the content and seeing what they’ve featured and why.

Once you have a better idea of the publications (and you read them regularly), you’ll easily be able to see the distinction. I often say things like, “This is a Marie Claire piece,” or “Oh, this is totally Elle,” and even within those two similar magazines, there’s a world of difference.

Some things to consider:

1.    What’s the goal of this publication?
2.    Who is the target audience?
3.    Which departments take freelance contributions? (Check out the bylines and compare with the masthead.)
4.    What is the length of the articles in the section you’re targeting?
5.    What kind of articles got the most reader feedback? (Read the letters to the editor.)

I’ve written more about this here.

01 Jul 2009 So, How Much Moolah Are We Talking?

I was also wondering of you could give me some sort of rough estimate of what the money is like in freelance writing. I realize this is near-impossible to predict, given the profession’s vagaries, but I was hoping you shed some light on the area… like how much such and such mag/publication/website might be willing to offer to someone with my kind of background and experience.

This is a really difficult question to answer, because, like you said, given the way the business works, it’s absolutely impossible to calculate, even roughly, what a person can make. The beauty of freelancing is that there is no cap on how much you’ll earn, but that also means that the more you work, the more you hustle, the more money comes your way. With the caveat that sometimes no matter how much you work and how much you hustle, you may still struggle for a decent income.

I’m not trying to be negative. But the truth is that until you’re an established name and editors recognize your work, it can be very difficult to be trusted with the kind of assignments you mention in your e-mail (reporting in far-flung regions of the country or world).

More specifically, to answer your question about how much magazines, publications, or websites pay, well, it depends.

Obviously how big the publication is makes a difference. It matters, too, where the publication is based. And of course, how much time you’ll be spending on the assignment, whether or not you’re doing any investigative work, etc, all factor into it.

In the US, for instance, national women’s magazines will pay $2 per word and up, whereas you wouldn’t get that rate from Indian publications. Similarly, corporate writing pays much more than magazine writing, and newspapers usually pay a daily wage (though Indian newspapers are known to be low-payers). (You can find a lot of this information by searching for “writer’s markets” or “writer’s guidelines” in Google.)

(See also: On the Market Hunt.)

That said, it takes a while for most freelancers to get to the point where they’re making a decent income. In my case, it took me approximately two years of part-time freelancing before my career really took off, and I’ve often had to supplement my work with how-to and the “armchair journalism” that you speak of in order to keep the money coming.

So, I’m afraid, there is no rule when it comes to freelancing. Some freelancers I know make a good six-figure-per-month income, even in this economy, while others, despite years in the business struggle to churn out even a few thousand Rupees. I think the difference is that the people who’re actually earning are really self-motivated and keep plugging away. Most also understand that this is a business and that writing is a job, and they do treat it as such by negotiating, demanding good pay, meeting their deadlines, and networking with other writers and editors.

It seems, though, like you’re well on your way in that arena.

30 Jun 2009 I Want OUT of My Bloody Cubicle

I really want to pursue a full-time career in freelance writing. . .My dream would be to do corporate writing 1/2-3/4 of the time (bread and butter!) and then do magazine/newspaper/article pieces the rest of the time.  Since you seem to be familiar with these areas, can I ask you how on earth you got your foot in the door?  How did you land your first magazine gigs?  Corporate gigs?  I’ve talked to some freelance writers who started off with an agency or company, so their advice isn’t as relevant, but your situation is similar to mine so I’m hoping you might have even more helpful advice.

Yep, I dove right into magazine/newspaper writing, not knowing that there’s such a low success rate! Maybe if I’d seen the statistics, I might have become a crocodile hunter or something, but when I started freelancing, it was because I’d failed miserably at engineering, had been told I was a good writer, and thought I’d make some easy money churning out a few articles each month for pay (ha!)

Well, clearly, all my illusions were shattered within the first month (even though I started getting work immediately) and I realized that while it’s easy to make “some” side money as a freelancer, trying to do it as a career is, well, challenging to say the least.

I had zero contacts, so I did it the old-fashioned way: I came up with ideas that seemed like they might sell, I wrote the best query letters I possibly could, I marketed my butt off, and eventually, I started getting regular work. It wasn’t sexy, and it wasn’t all that fun, but for a long time, it paid the bills.

It also helped me build contacts and relationships and that led to more work.

I did do well enough that I never had to do any corporate writing, but I know that my experience is rare, and a lot of freelancers regularly do corporate and PR work (there’s no shame in that; if it helps you do what you enjoy, I say go for it!)

My career has moved slowly, but surely. I’ve worked my way up from low-paying publications, I’ve written about all kinds of shit that makes my mind go numb, I’ve sent out Letters of Introduction by the dozens, and I’ve written and re-written so many query letters, I could probably crank one out in my sleep.

With each article and publication, I’ve grown and improved, and therefore, made my way into the big leagues. And though, even now, the dratted bank account does sometimes hover around dangerously low levels, I don’t really doubt that I can have a long-term future as a freelance journalist. But it took time, a lot of patience, and at least for me, a lot of paying the dues, so to speak.

That said, there are certainly a few things I wish I’d known when I started and some myths I wish I hadn’t bought into (perpetuated by experts on the Internet, of course), so I’ll lay them out for you. This is my experience only, so I really recommend using your own good judgment in what works for you. There really is no one way to make a freelancing career, so I can only tell you what made it happen for me.

* The most important advice I received (and continue to struggle with) is the speed of work. You simply don’t have time to sit around and mope about your bank balance, spend days perfecting your pitches or waste away hours on writer’s forums. In the end, the more you work, the more you put out there, the more you’re going to earn, and you really have to watch that hourly (or daily) rate.

* I’ll follow up that first point by saying that most writers focus too much on the writing and don’t give that much thought to the idea. Look, if your idea sucks, no matter how pristine your writing or how clever your word choices, it’s just not going to sell. And if the idea is so fabulous, the editor really isn’t going to care if you misspelled a word or two. I think too many new writers really lose sight of what’s important and focus on the wrong thing.

* Hustle, hustle, hustle. Seriously. This is a business, and like in all business, you need clients. So go out and get them. You know, when I started freelancing, I’d read a lot about how you could now contact editors on the Internet, how you didn’t really have to live in a certain state or city to get work and how meetings and phone calls were no longer important because everyone was working via e-mail. I agree with all that, but I wish somebody would have just told me that it was perfectly acceptable to get off my ass and go meet some of my editors.  Because seriously, ever since I started doing that, my career has really taken off. It’s not about selling articles; it’s about building relationships. It’s much harder for an editor to reject, and much easier for her to work with, a freelancer that she has met.

* Finally, you have to, have to, have to, be persistent. I can’t tell you how many freelancers I know who simply refused to take no for an answer and kept sending ideas for years before they received assignments from certain editors. Many will simply not accept silence,  and will follow up on a monthly basis on their ideas, sometimes to a fabulous response. I know writers keep advocating against this, but why on earth wouldn’t you pick up the phone to call an editor and inquire about a pitch they’ve shown interest in? Why on earth wouldn’t you go meet an editor (or writer or photographer) you have worked with or want to work with?

It’s a tough business, there’s no doubt about that. But really, it’s not as tough as some people make it out to be. There are hundreds, thousands, of people all over the world who’re freelancing very successfully and getting work regularly. They’re not all the best writers, but they’re certainly professional businesspeople who treat their work as such.

You can absolutely be one of them. All you need to do is find good ideas, write engaging query letters, and make sure your pitches get into the hands of people who’ll read and assign them. Seriously, once you’ve mastered those three things, it’s really that simple.

Does that help? Let me know if you have any other questions, and I’ll do my best to answer them.

Let’s hear from the established freelancers? Have anything to add to what I’ve said? What tips would you give to someone just starting out?

29 Jun 2009 Go On, Ask Me

I know you may have thought it impossible that I’d run out of things to say, but I’ve been writing so much lately, that I’m all but out of inspiration.

Hey, there’s always a first.

So I’ll open up the floor to you. Have any questions about freelancing? Want to know what I’m working on behind the scenes these days? Want some advice or tips on the art, craft, or business of writing? I don’t claim to be an expert, but I can tell you what works for me, and if I don’t know the answers to your questions, I’ll go find someone who does. And of course, I’m happy to share my (sometimes too) honest opinions about pretty much anything!

Post them in the comments or e-mail me at askmridu@gmail.com (I’ll keep the questions anonymous for the shy among you.)

26 Jun 2009 As I Come Up for Air

I am so ready for a weekend. I wrote three articles this week, sent a few pitches, did a ton of research and interviews, and finished the final important job– recording a voiceover (in Hindi, never done that before) for an Iranian friend’s movie. I’m totally knackered.

I’ve spent the last few minutes trying to solve the Rubik’s cube and really, this is how I relax, the absolute geek that I am.

“How many deadlines do you have now?” my father asked me the other day.

“Seven,” I replied.

“That’s good!”

“Well, it would be,” I said, “Except that they’re spread over the next year!”

That’s to say, one of my editors assigned me a whole lot of stuff until the end of the year, which means I’ll probably have a byline in every issue from now until December. And there are still more ideas I’m supposed to send her way.

I’d take some time off in order to keep that work-life balance thing going, except that I have two more articles due this week, and I haven’t even looked at the assignment sheet of a third piece yet (bad, bad Mridu). I’m supposed to discuss stuff with my photographer, who I haven’t had a chance to meet until now and am hoping is more efficient than moi!

Despite my best intentions, I’ve been sleeping at the office.

The silver lining in all of this is that I’m still afloat despite the economy (two freelancers I know shut shop this week after decades in the business), but I don’t ever remember having to do this much hustling for so little work. I’m not worried, though, just overworked (which I realize, makes me very lucky).

I was having a conversation with an editor the other day (who has a frozen budget) and when I asked if there was anything I could do to help, she told me that the best thing I could do for them was to stay in business and be there to take on work when they’re ready to assign.

Anyone else feeling a little blown away by this ever-changing media landscape? Have any advice or tips to share?

(P.S. Check these out: Fellow freelancer Amy Green writes this moving entry on her blog, and Patti McCracken discusses what this implosion means.)