Freelancedom» writing

Been Writing for Years? You Still Have A Lot to Learn

Steph Auteri — Fri, 03 Feb 2012 08:00:40 +0000

Many of you already know my writing history.

Awful poetry at the age of 5.

A part-time gig at a weekly newspaper at the age of 19.

Writing sex toy reviews by the age of 22.

And now, at the age of 31, I’ve created content for online magazines, alternative newspapers, both regional and national print magazines, and a slew of blogs.

Not too shabby.

What I’ve always wanted, however, is to write a book. A book that garners interest from traditional publishers, and that eventually ends up on the shelf at Barnes & Noble or McNally Jackson or the Trident Bookstore/Cafe.

Up until recently, however, I didn’t do a damn thing about it.

A year or so ago, however, I co-authored an ebook with sex counselor Ian Kerner. And after that sold surprisingly well, he asked me to ghostwrite an ebook for another client. Once I’d completed those two projects, it occurred to me: I just wrote two books. Maybe this whole long-form thing isn’t entirely out of the question.

So in the late summer / early fall, I began working on a book proposal and, at the end of November, I began querying agents. And then, almost immediately, I received a handful of responses from agents who were actually interested in seeing the full proposal.

As I’ve mentioned in the past, the rejections I subsequently received were both kind and constructive, and I filed their comments away in the back of my mind for future use. But it was my most recent rejection that rang especially true. What this brilliant agent told me was that my proposal was pretty solid… but my sample chapters were where it all fell apart. I was long on narrative and short on scene, making my chapters seem pretty flimsy. It touched upon something I had already suspected.

In Naked, Drunk, and Writing, Adair Lara wrote that “overly fluent writers, those to whom words come fast, have trouble going deep in their writing.”

It was true. I’d been spending so much time writing service pieces and listicles that I just didn’t know what it took to build a scene in a long-form book.

So though I’d read it only a year before, I read Lara’s book again, in its entirety. (It’s all about writing personal essays and memoirs, and has an entire chapter on scene-writing.) I also simultaneously read a memoir (Claire Dederer’s Poser), so I could pay extra attention to how other writers built scene and arc and character. Now, I’m ready for a massive rewrite (followed by a bit more slash and burn from my writing partner).

I’m not a terrible writer. Even though I began questioning my ability to write this book, and bemoaning the fact that I’d squandered my chances with several agents, I know there are areas in which I absolutely shine.

But even when you’ve been writing for years, there’s something new to learn, or something old and valuable to revisit.

Which aspects of writing do you feel you still have a lot to learn about?

One Simple Trick for Effective Self-Editing

Steph Auteri — Wed, 11 Jan 2012 18:01:52 +0000

On Monday, instead of getting a damn thing done, I took a bus into the city and headed downtown to (Le) Poisson Rouge, where Mike Geffner was hosting Titillating Tongues: NYC Erotica in Poetry & Prose. My favorite, sex-positive feminist was reading, and I was also excited to catch my very first glimpse of Rev Jen, a writer, performance artist, and elf I’d first become aware of when she was writing the old-school “I Did It For Science” column on Nerve.

Before we could bask in the awesome glow of the featured readers, however, there was an open mic.

I didn’t read, because I don’t write erotica (I just enjoy it recreationally, and ghostwrite essays that accompany erotica), but I enjoyed the mix of people who did have the balls to get up there (including my friend Claire, who had made a resolution to read, perform, and tell stories in a public setting).

And as I sat there and listened — impressed by how successful writing was about so much more than just the words — it occurred to me:

We should poetry slam all our writing before considering it Good.

Don’t freak out. I’m not suggesting you sign up for the next open mic night at your local coffee shop. (Lord knows I’m not going to.)

But what you should do before pronouncing a piece officially done is read it out loud. To workshop classmates. To a writing group. To your three incredibly intelligent cats. To yourself.

Why?

What I’m suggesting has nothing to do with critiques and constructive criticism (though those are helpful, too). Rather, reading your work out loud will help you hear things in it that you couldn’t perceive when you were just silently staring at your screen.

What should you listen for?

rhythm
flow
awkwardness
redundancies
cliches

In addition, you should ask yourself:

Would reading this to an audience be horrifically embarrassing?

Is this piece something I would be proud to share with others?

Does is feel good to read this out loud? Can I get into it? Can I groove with these words?

A good number of Monday night’s readers definitely grooved with their words. And their work was visibly the better for it. In the pauses and the chuckles and the facial expressions, their words became performance. Their words were alive.

Are your words alive?

Read them aloud to yourself. It will quickly become clear where the stutters and hesitations lie.

Self-editing? Suddenly easy.

Spill It: How Do You Handle Rejection as a Writer?

Steph Auteri — Thu, 01 Dec 2011 16:17:33 +0000

I learned early on that — when it came to freelance writing — it was important to bounce back quickly from rejection, keep up the momentum, and flip that pitch.

Because of that early lesson, I’ve never felt too much anxiety when pressing “send” on my query letters and, upon receiving rejections, I’ve typically only felt the barest twinge of disappointment before turning to the next publication on my pitch list. After all, rejection is a reality of the freelance writing life, and not everyone is going to fall all over themselves to publish my work. In fact, despite my being a total genius (obvs), I’m pretty sure at least some of my ideas have been pretty weak.

So my mental reaction when I received my first-ever rejections from my first-ever literary agent queries sort of caught me by surprise.

I spent two hours sending out my first four query letters on the Monday before Thanksgiving. By that point, I had already imagined my book as a done deal. I’d envisioned the book party / speed networking event that would take place at my favorite local cafe. I’d mentally run through the readings that would take place at Babeland and Happy Ending and KGB Bar. I’d considered the other things I would do to promote my book. The local library I’d do a Q&A at. The excerpt I’d send along to Real Simple. The blog tour I’d singlehandedly mastermind (and which my publicist would love me for).

This is all very embarrassing to admit. But I figured that imagining my book as a done deal would help it become a reality… would in fact help it manifest, à la The Secret.

One of the agents I emailed (my first choice, actually) responded within 15 minutes. He wanted to see my full proposal. I nearly had a heart attack, but I forced myself to chill the eff out and then sent along what I had, feeling cautiously hopeful. Somehow, I managed to make it through the week (including Thanksgiving) without going completely crazy from anticipation.

The following Monday, I received his rejection and, later that day, another one.

They were lovely rejections. They included words like “talented” and “engaging.” I felt that familiar twinge of disappointment, but I still felt hopeful. Their letters had been rejections, but they had also been personal, complimentary, and constructive. I filed their critiques in the back of my mind for use in future revisions, and set about waiting for responses from the other agents.

I spent the next three days being completely unproductive. I wasn’t sure why. It finally occurred to me that I was depressed. What the what!? But then I realized what was bothering me. Those two rejections had forced me to consider the difficult possibility that my book might not happen.

Noooooooooo!

I gave up on work and retreated to the sweet, sweet comfort of my pillow-top mattress, plus five layers of blankets and cats. I tried not to think about the readings and book parties that would never happen. I slept for two hours. I allowed myself to mourn.

This morning, I found myself eating Cheetos at 8:30 a.m. and decided it was time to snap the hell out of it. I started putting together the December edition of Word Nerd News. I started writing this blog post. I looked at my agent spreadsheet and made plans for sending out my next wave of query letters. I brainstormed my next steps for drumming up new work.

Clients often ask about my success rate with query letters and LOIs. I tell them my success rate is much better than it was when I started. Which makes sense. After all, my portfolio is stronger these days, my network is larger, and my writing has only improved. But I also tell them that rejection is still a reality of the freelance writing life, and that it always will be. One can’t succeed without accepting that, and working through it.

After all, rejection is not the same as failure.

How do you react to rejection? Do you, too, have weird daydreams about your unpublished book? And have you ever sunk so low as to eat Cheetos at 8:30 a.m.? Spill it.

Don’t Forget To Thank Your Writing Partner

Steph Auteri — Thu, 24 Nov 2011 08:34:03 +0000

Earlier this week, I sent query letters out to four literary agents. This was a big step for me. I’d been dreaming of becoming a published author since the age of 5 and, since then, I’d done absolutely nothing to make it happen. Now I have a book proposal — polished and ready to go — and four query letters out the door.

In fact, within 15 minutes, one of the agents responded to me, asking to see my full proposal. I thought I was going to pass out from excitement, but I pulled it together long enough to send him what I had. He responded almost immediately, saying he would try to get back to me either way by the end of the week.

This very well might mean I’m about to get the quickest rejection ever (well, okay… not ever) but, nevertheless, I’m ecstatic. I’m closer than I’ve ever been to making this happen.

And I never would have done it if I wasn’t being held accountable by my writing partner.

What my writing partner did for me:

helped me choose one big project to focus on
helped me set regular writing, querying, and business goals
helped me set deadlines for the above goals
read my weekly status reports, cheering me on when I was extra productive
threatened my life when I slacked (or just generally emanated an aura of disapproval)
marked up everything I sent her with edit marks and insightful comments and questions
scheduled regular Skype chats with me to discuss those suggested edits (and to talk work gossip, sex, infertility, and Chicken McNuggets)
held me accountable
kept me on track
made my book a possibility, rather than an elusive dream

The day after I sent out those queries, we had another Skype chat. At the end, we discussed what our next writing goals would be. I was feeling distracted by the thought of those book queries. How could I concentrate on anything else!? But I attempted to pull my weight. ”I still need to make revisions to that Freelance Awesome Starter Kit,” I said, “but I should really concentrate on developing magazine queries and drumming up new work.”

“Well, can’t you do both?”

Yes. Yes I could.

Lyz Lenz is a so-funny-she’ll-make-you-snort writer who blogs over at LyzLenz.com. She also writes for Babble, TruTV, NewParent, and other publications. We met when I was permalancing at YourTango. She manages the community there (among her many other responsibilities). She lives far, far away (Iowa), but she is my platonic life partner. I’m lucky to have her as my writing partner as well.

And since it’s Thanksgiving and all, I want to thank her. I want to thank her for forcing me to accomplish this despite myself.

Writing partners are one of the best things in the world. They’re up there with Candy Cane Kisses and cats and yoga and So You Think You Can Dance. They’re up there with episodes of Castle and The Sing-Off, and with pillow-top mattresses and coffee. If you need a reminder of why you should get one yourself… well, here.

Have you thanked your writing partner this Thanksgiving?

How Choosing the More Difficult Path Leads to Awesomeness (and a Cuter Butt)

Steph Auteri — Fri, 18 Nov 2011 08:49:22 +0000

The other day, I was the only student to show up for lunchtime yoga. “You have three options,” my instructor told me. “A. We can do a restorative yoga class. B. I can kick your ass with a really intense class. C. We can blow this joint and go out for drinks.”

I stood there, waffling between all three. An hour of restorative yoga would pretty much be an easy-peasy, introspective afternoon nap. Going out for drinks would be fun. And I’d been wanting to pick my instructor’s brain about his experiences within the teacher training program.

In the end, though, I chose option B. I felt I needed it, especially after my rough day at the lab, trying unsuccessfully to get blood drawn so I could take the next step in trying to get pregnant. That and I’d been feeling a little fat. So we got down on our mats and we sweated it out.

I was so happy with my choice. My instructor read aloud a great passage from Life Is a Verb, and then we worked our way through a full vinyasa practice. Because I was the only student there, my instructor was able to give me adjustments on every pose, pushing me harder and deepening my practice. We also worked on inversions I had been struggling with. And I still got my chance to grill him about teacher training. When I left the studio, I was feeling simultaneously relaxed and revitalized. I was ready to make the tough choices on my to-do list next.

I feel as if freelancers crave the tougher path.

Yeah, yeah. I roll out of bed at 8:30, at which point I only have to commute from my bedroom to my dining room. I don’t have to wear a bra — or pants — if I don’t want to. I get to hang out with my cats all day. My schedule is flexible enough to allow for a shit-ton of yoga classes throughout the week. I’m my own boss.

But I’m also the toughest, most critical boss I know. I can’t count on regular income. I’ve had to force myself to diversify — with ghostwriting, editing, coaching, funeral singing, etc. — to more easily pay the bills. I’ve had to fight my introversion and social anxiety in order to build my network. I’ve also had to learn self-discipline and self-motivation, and take on the roles of marketer, accountant, administrator, and more.

And every day, I’ve had to consciously choose to sit down at the computer and fill the blank screen, instead of watching the latest What Not To Wear marathon or baking apple crumble and lemon pound cake.

That’s a hard decision to make, yo.

And I know you make the same choices, too. It’s scary to leave a seemingly stable job and a regular paycheck in order to make it on your own. It’s scary to put yourself out there. It’s scary to ask for what you’re worth and to stand firm with problem clients and to try new things. It’s definitely far from easy.

And it can be tough to make the tough choices from day to day.

But it’s worth it. Because of the pantslessness and the bralessness and the kitty cat slumber parties, yes, but also because it challenges us. It pushes us to be more… to be better. Making the tough choices ensures that we continue growing, both as people and in our career.

It’s tough to remember the benefits sometimes.

But right now, my booty and my thighs are still sore from Tuesday’s private class and — man oh man — if I keep it up, my mood will keep improving, and I’ll look hotter in skinny jeans.

And for the same reason, I’ll skip the Netflix this afternoon and work on those projects I have on my plate.

What tough decisions do you have to make today?

Selling Your First Book: A Checklist of Book Proposal Essentials

Steph Auteri — Wed, 16 Nov 2011 18:08:03 +0000

I’ve been a woman on a mission lately. In between assigned blog posts and essays, coaching calls, and yoga classes, I’ve been slowly pulling together a book proposal with the aim of sending it out to a handful of agents by the end of November.

So why would I take time away from everything else in order to focus on another large project… one that may very well come to nothing?

1. I love adding new things to the mix.

2. After ghostwriting and collaborating on ebooks for other clients, I really want to have something of my own out there. Heck, I’ve dreamed of being an author since the age of 5.

Luckily, I’ve worked in book publishing before, where one of my responsibilities was weeding through book proposals and sending them around for review. So I know a thing or two about what goes into a proposal. I also picked up some additional tips from this nifty book I read, and from Susan Shapiro, who regularly runs book publishing panels.

But maybe you’ve never seen a book proposal before. Maybe your book is still just a germ of an idea in your head, and you’re completely clueless about where to start. For all the book publishing newbies out there, here’s the book proposal checklist I use with clients, and which I also used to put my own proposal together:

Compelling Title and Subtitle. Most publishers brainstorm new title options for every book they buy. But it’s still a good idea to name your book from the outset. If it’s compelling or clever enough, it will entice an agent or publisher into reading more. It can also help them envision your book as a finished product.

Book Description. This is exactly what it sounds like. Any book proposal should include a brief description of your book. And don’t half-ass this. Aside from your initial query letter and book title, this will be the first thing an agent/publisher sees. If you don’t grab an agent’s attention from the very beginning, they may never continue on past the first paragraph, let alone the first page.

About You. As in your typical magazine query letter, this is the part of the proposal where you drive home why you’re the best person to write this book. This paragraph may include info on your writing background, any unique experiences or connections you have, the lowdown on your very special area of expertise, links to previously published clips, details on your already-existing platform, etc.

Manuscript Details. Don’t make an agent or publisher work too hard to imagine your book as a finished product. Give a projected word count. Mention which publishing categories it might fall under in your local bookstore. Give an idea of how long it will take you to complete a first draft of the manuscript.

Target Audience. More than anything else, a publisher needs to know if they’ll be able to sell your book. Because of this, they’ll want to know if there’s a large enough audience out there for the book you’re proposing. Write about the people who will be dying to purchase your book, and perhaps include a secondary audience as well. Let the agent/publisher know what benefits the reader will derive from your book. This is the type of information they’ll later be able to use within their marketing copy. And while the publisher will want to see proof of an audience for your book, make sure you’re not attempting to sell to everyone. When you try to make everyone happy with your work, you end up writing for no one.

Competitive Analysis. You’ll really need to do your homework here. This is the section of your proposal where you mention the existence of other, similar books on the market… and then explain what sets your book apart from them. This does two things: It shows the publisher that there is an existing market for the type of book your proposing… and then it presents your book’s unique selling proposition (or why a reader would still want to buy your book even after they’ve already read competing books). While you should make an effort in pulling together this section, don’t go overboard. If you list too many books, an agent/publisher will then worry that the market is over-saturated. I aim for five.

Annotated TOC. This is where you lay out the contents of your book. It’s a chapter outline that includes a one-paragraph description of each chapter.

Marketing/Publicity Ideas. We live in an age where the book publisher can’t afford to do it all. Because of this, you have to show agents/publishers that you have a strong platform, and that you can leverage your platform to promote your book both before and after it’s published. In addition to mentioning your blog/vlog/podcast/social media presence, this section should include suggestions for media outlets (newspapers, magazines, blogs, TV, radio) that may want to review your book or conduct an interview with you, reading series you could conceivably participate in, other outlets where you could do readings or other types of events, details of the blog tour you will be more than willing to organize yourself, articles you’re willing to write, alternative sales channels, etc.

Optional Extras. If you’re up to going the extra mile in order to gran an agent/publisher’s attention, consider including a list of potential endorsers for your book, a mock cover design, a mock press release, or anything else that will help others see your book as something with sales potential.

Book Excerpt. Wait! You’re not out of the woods yet. In addition to all of this information you so painstakingly pulled together, an agent/publisher will want to see some proof that you can actually execute what you’ve promised. Fiction writers typically have to submit a full manuscript along with their book proposal, why nonfiction writers can get away with an intro and first chapter.

Brief Cover Letter. But before you even send any of this out, most agents prefer to receive a brief query letter first, inviting them to check out / request your proposal. Agent preferences vary, so be sure to do due diligence before sending things out.

Anyone here working on their own book project?

How To Harness the Power of NaNoWriMo… All Year Long

Steph Auteri — Fri, 04 Nov 2011 19:14:50 +0000

We’re just a few days in to NaNoWriMo, and the tweets and motivational blog posts are already flying fast and furious. Not that I’m participating, mind you. I’m not a novelist, and all of my attempts at “fiction” back in college were thinly-veiled, totally emo personal essays (as were everyone else’s). But I can’t help feeling envious that fiction writers have a month like this, during which they can go all in on that large project they’ve been daydreaming about for eons, a built-in support network (and hard-core accountability) just an email or dedicated forum away.

Of course, I get my motivation and accountability elsewhere. My writing partner, Lyz Lenz, sends me threatening emails every week.

But what about the rest of you? Where can you go to ensure that your writing goals are met, thanks to a mix of motivation, camaraderie, and abject fear?

1. For those of you who have trouble updating your blog on a regular basis (shut up; I was doing very, very important things… okay, I was tweeting and surfing Etsy), there’s NaBloPoMo, or National Blog Posting Month (also in November). You can check out the BlogHer site for writing prompts and badges and then dive on in, secure in the knowledge that, at least for one month, you were on top of things.

2. If your November is just too damn busy (with Christmas shopping), there’s always Michelle Rafter’s WordCount Blogathon, in May. Check out Michelle’s Blogathon page for all the ways in which participating can help you build your biz.

3. And of course, those are just two of the more well-known ones. You can search for blog carnivals within your specific niche at this handy-dandy online directory.

4. If you’ve got your blogging covered, however, and would rather concentrate on content you can create for actual money, I highly recommend Freelance Success‘s twice-a-year Query Challenge. For the brief period of time in which I was a member of this professional writer’s group, I found the Challenge to be its most beneficial resource. Participants were split into teams and pitted against each other, earning points through queries and LOIs, and through the assignments that resulted from them. Team members had to report their points once a week, and team rankings were sent out in the weekly e-newsletter. There’s nothing like some healthy competition (and the fear of letting your teammates down) to make you sweat.

5. Then there are those sites and applications that target your writing productivity, and that can be used year-round. 750 Words is one such resource. It’s a site on which users aim to write at least 750 words a day and, for their troubles, receive points for their progress, and stats about what they’ve written (such as their most productive times of day, their quickest entries, their most common topics, and their most frequently used words).

6. Finally, if extreme terror is the most effective form of motivation for you, there’s always Write or Die. I’m afraid to use it, but rumor has it that, if you don’t reach your writing goals for the day, this application send you a threatening email, announces your failure to the entire Twitterverse, erases your hard drive, and makes your coffee pot malfunction.

Just kidding.

Write or Die tracks your writing and, if you pause for too long, you either a) receive a gentle reminder pop-up, telling you to stop being such a goddamn slacker (gentle mode), b) are subjected to an “unpleasant sound” that only ceases if you continue writing (normal mode), or c) are forced to watch your writing unwrite itself (kamikaze mode). Note: I am afraid to use this app.

7. Of course, you could always use mini goals, rewards, self-imposed deadlines, and good, old-fashioned self-discipline, but where’s the fun in that?

Any of you guys have an app or non-technical trick that keeps you at your keyboard?

Spill It: Do You Unknowingly Waste Your Best Stories?

Steph Auteri — Wed, 12 Oct 2011 17:31:08 +0000

Tomorrow morning, I’m heading up to Good Commons in Plymouth, VT, for a Revitalize Retreat organized by healthy travel organization Pravassa. I don’t travel (or unplug) often, and I’ve never taken a vacation alone. But I’m looking forward to daily yoga classes, and cooking classes during which we’ll prepare farm fresh meals. I’m looking forward to field trips to nearby sustainable farms. I’m looking forward to soaking in the hot tub, and stuffing my face with s’mores at the fire pit. I’m looking forward to spending quiet hours with my stack of books (Michael Ellsberg’s The Education of Millionaires, Elizabeth George’s I, Richard, and Karen Russell’s St. Lucy’s Home for Girls Raised by Wolves), and to meeting other blissed-out, beginner yogis.

When I told my yoga instructor about the trip, he was all, “Cool! Are you writing about it!?” And then I hemmed and hawed and finally admitted to him that it hadn’t occurred to me.

But this is only half true. Another part of me had thought about it in passing, and had then decided that I wouldn’t be able to come up with a compelling story angle. Or that it would be too much of a long shot to sell a story that wasn’t about sex. And was it worth the effort? Wasn’t I supposed to be having fun? Unplugging?

I do this all the damn time. Not that my life is a non-stop party, but what about that casserole competition I enter every year? What about the traveling potluck I partake in? What about my very first trip to a fertility center, or my very first trip to a biker bar? Aren’t these story-worthy? Am I surrounding myself with wasted opportunities? Or should I feel okay about not mining every aspect of my life for my writing?

I guess I’m allowed to slack sometimes, but I feel as if it happens way too often. And considering how burnt out I can get on sex writing, I should probably branch out into other content areas. So what holds us back from writing about our outside-the-niche experiences, and how can we push back?

1. It doesn’t occur to us to write about that awesome, fantastic, one-of-a-kind experience, because it’s not work-related.

Our minds should always be open to new story ideas, and this means analyzing every experience and interaction with a writer’s eye. Show interest in others’ stories. And show interest in your own, too. Look through your calendar and ask yourself: What can others gain from this super-cool thing I just experienced?

2. We have trouble coming up with a unique story angle.

So I’m going on a yoga retreat. Big deal. Almost every other writer out there has come to make yoga a big part of their lives, and stories about the transformation they’ve experienced through yoga are a dime a dozen. There are even hybrid yoga/writing retreats! No one cares about my experience!

This kind of mindset is poop. Self-defeating poop. Examine your experience from every angle. What sets this one apart from others of its kind? Is there an interesting back story? Did you learn some counterintuitive lesson? Is there a how-to or Q&A that can grow out of this experience? Get creative. I mean, isn’t that your job?

3. We worry about venturing outside our niche.

This is also poop. Plus, I recently wrote about it! Revisit that post to learn more about starting from scratch in a new niche.

Am the only one who does this? Or do you regularly use new experiences to break into new niches?

How to Start from Scratch with a New Niche

Steph Auteri — Tue, 27 Sep 2011 08:06:51 +0000

This is a metaphorical lump of dough.

Like any good love affair, even a thriving writing career can get into a slump. And by “slump,” I’m not referring to the lean times in your typical feast-or-famine cycle. I’m referring to a successful business that — for some reason or another — you just feel bored with.

You know the feeling: Every targeted press release seems to say the same thing. Every forthcoming book you’re offered for review seems to have the same premise. And when your favorite sex toy purveyor offers you the latest and greatest vibrator with all the bells and whistles, you just feel meh.

While your niche may once have been a passion (and perhaps still is), it doesn’t seem to leave room for all the new interests in your life.

But is it worth it to switch gears? Will food editors be interested in a piece from a veteran health and wellness writer? Will tech editors care what the go-to sex columnist has to say?

I’m not the same person I was 10 years ago. Way back when, after stumbling upon an internship creating adult content for a personals site, I threw myself into the sex content niche for very personal reasons. I was interested in exploring sex positivity within the contexts of feminism, sexual dysfunction, and past abuse.

These days, I’m cool with the sex writing, but it’s not all I am. I also sing funeral masses. I love hoop dancing. I’m addicted to yoga. I’m a disaster in the kitchen, but I love cooking, too. I go wine tasting with my husband. And I’m a crazy cat lady.

Gee whiz. It sure would be fun to write about those things, too.

And I can but, in order to succeed, I need to take a lesson from those days when I was just starting out. Luckily, while I may — for the most part — be starting from scratch, I still have one of those pre-made crusts to work with. (Too much? Too corny? To hell with it.)

Step One — Research New Markets:

As has become pretty apparent here lately, I have a new hobby. It involves doing headstands and acquiring a hot ass. I’m also into dance-based workouts like belly dancing and hoop dancing, have been doing callanetics for 12 years, walk wherever I can, read books like French Women Don’t Get Fat and The Flex Diet, and enjoy cooking things from scratch. So why the hell does my writing only focus on sexual health?

Wanting to rectify that, I recently took a field trip to Barnes & Noble and picked up copies of Om Yoga & Lifestyle, Yoga Journal, Women’s Health, Fitness, and Whole Living. I flipped through the magazines, bookmarking the masthead, making note of the story layouts, and familiarizing myself with the various magazine sections. I asked myself: What story could I write to fit this publication?

If you’re considering a new market, you should do the same. Visit your local bookshop and browse the magazine racks. Check out mediabistro’s How To Pitch series, which allows you to search publications by category. Search sites like Alltop by subject matter, or scour the blog rolls on popular blogs. And of course, there’s always the good old Writer’s Market.

Step Two — Expand Your Network:

You have 1,981 followers on Twitter. The entire Internet knows about your experience with the Sexerciseball. At this point, all the “how to boost your libido” blog posts and mythology-based erotica essays are coming to you. But you know what’s not coming to you? Anything that’s not about your vagina. Obviously, you need to expand your circle in new directions.

Use sites like LinkedIn or Twitter to find contact info for the editors at your new dream magazines. (And while the mediabistro How To Pitch articles may not be up to date in terms of contact info, you can always use them to snag a magazine’s email format and then pop in the latest names on the magazine’s masthead.) Send these editors LOIs (letters of interest), or ask them if they’d be up for an informal chat about their experiences within a niche. Tell them you’d love to hear more about what they’re looking for. (I’ve landed many lunch invites this way.)

Or connect with other freelance writers who are active in a subject area you’d like to expand into. Having a strong freelance network is key for swapping tips, clips, stories, advice, and sometimes even important contacts. I never would have written about my cats for Petside, for example, without a tip from a fellow freelancer writer. The site just wasn’t on my radar.

Finally, attend networking or industry-specific events. As a sex writer, I’ve attended my share of dating blogger happy hours and dating site parties. Do your homework and see if the writers in your new niche are doing something similar. Or attend those professional conferences in order to make valuable industry contacts or gain inspiration for future stories. For example, if you’re looking to break into Psychology Today, check out Psychotherapy Networker to see what’s what in the world of the mind.

Step Three — Start Small:

Despite being a total sexpert, I once wrote the Ultimate New Jersey Wine Tour for a regional magazine based upon the strength of my pitch alone. And I’ve written a roundup on fitness classes that make you laugh for a newer, regional magazine. While it helped that my query letters were kick-ass (more on that in the next step), the fact that I was aiming for regional — rather than national — markets was probably also a factor. Oftentimes, the smaller publications are far more willing to take a chance on new writers.

So if you’re having a hard time getting in the door at the major glossies, pretend you’re building up your portfolio all over again and aim a bit lower.

Step Four — Wow Them With Your Letter:

I’ve raved about the importance of a strong letter in the past. And I’ll do it again. When you’re lacking clips in a certain niche, a strong query letter can showcase your writing ability, spotlight a brilliant idea, and act as proof that — despite the skimpy portfolio — you’re the best writer for the job, whether because of expert contacts, personal experience, or certified expertise.

Step Five — Don’t Discount Your Prior Experience:

This is where that pre-made crust comes in. (And I always cheat by using the pre-made crust though, in this case, I think you’ve earned it.) Basically, even though you’re a newbie to the niche, you still have a leg up by being an established, professional writer. What does this mean? It means that you have a proven track record of producing brilliant content under deadline. It means you know your way around an expert interview, and rock the house at research. It means you have an already-existing readership. It means that you’re worth those professional rates.

So please. For the love of god. Don’t shortchange yourself. Realize that if you did it before, you can do it again.

And p.s. Don’t be a wuss. Always negotiate for higher rates. You’re worth it.

Should You Add Ghostwriting to Your Freelance Toolbox?

Steph Auteri — Fri, 16 Sep 2011 14:43:09 +0000

Just the other month, I asked if you write for the bucks or the byline. As someone who had stumbled into a fairly steady stream of ghostwriting and co-authoring work completely by accident, I wondered: Is my ego too big to give up the byline? Should I suck it up because the money is good? How do other people feel?

Then I decided, why not just add it to the mix? Because — as someone who juggles sex writing, career coaching, funeral singing, and (now) ghostwriting — I’m all about finding that perfect mix.

Of course, if I was going to be serious about this, there was only one person I could turn to: the lady who wrote the book on ghostwriting.

I had seen Kelly James-Enger’s name here and there throughout the Twittersphere, and knew her as someone who created helpful how-to content for other freelance writers. I had also started reading her column in The Writer magazine. When I realized she’d written the book on ghostwriting — Goodbye Byline, Hello Big Bucks: The Writer’s Guide to Making Money Ghostwriting and Coauthoring Books – I knew it was bound to provide valuable insight into an area of freelance writing I had not yet fully explored.

She did not disappoint.

As with all my favorite how-tos, James-Enger really went into the nuts and bolts of how to make it as a ghostwriter. While many of the tips she includes throughout the book can be applied to other aspects of freelancing, this book goes beyond what you’ll find on the average freelance writing blog, providing, among other things:

descriptions of the types of clients who typically need ghostwriters or coauthors, and how to target them.
what to ask a possible client before negotiating your price, and signing on to the project.
what should be included in the ghostwriting contract.
actual examples of ghostwriting contracts.
sample pitch letters.
stories, tips, and examples from other ghostwriters.
additional resources.

By the end, it had earned a spot on my permanent writer’s reference shelf (which, at the moment, is a tiny drawer in my tiny desk; sigh).

And for those of you still on the fence about ghostwriting? Those of you who are still wondering if ghostwriting is a tool you should have in your freelance toolbox? James-Enger even includes a quiz to help you figure out whether or not this type of work is the right choice for you.

Ghostwriting: It isn’t for everyone, and that writerly ego can easily get in the way. But man I do love those paychecks.