Ink-Dipped Advice: Tools and Resources

 

Last week’s post promised further discussion about the tools and resources you need to get the job done.

Tasks, Job Descriptions, Contracts
Far too many job listings should be flagged for false advertising. The listing that claims to want a “Marketing Coordinator” actually wants a receptionist who writes press releases in between phone calls (not happening). The “Social Media Manager” spends more time fixing computer problems than creating content for social media platforms. The “Marketing Director” doesn’t direct marketing at all, but is actually supposed to do the job of a sales assistant.

I currently live in a work-for-hire state. The first thing the employer states in the offer is that the job is “at will” and you can be fired without notice or reason (which also means you then have to fight to get paid, and, if you’ve worked on payroll rather than 1099, it’s a fight to get unemployment benefits if you were fired).

By law, it also means that the employee can leave “at will” at any time without notice. The employer, who just fired Betty last week in a fit of pique is now shocked, shocked I tell you, when Jane walks out at lunchtime in frustration, because now Jane’s doing her work and Betty’s work (which is nowhere near the tasks she was hired for), and the employer is delighted not to pay two employees, even though both jobs were part time and without benefits, sick days, or paid holidays.

It also makes it harder to give two weeks’ notice and have any transition/training time. The new position won’t hold it while you try not to screw over your previous employer and wrap everything up; the person you’re replacing is long gone and no one knows what that individual did or any of the passwords, or can even find the job description; and you don’t have a chance to train the person coming in to do your former job. And all the notes you so carefully left for that person have disappeared.

This means, even for freelance/remote work, most local clients don’t want to sign a contract. But the contract is vital in order to keep the job parameters clear.

Basically, if you’re coming in to write freelance marketing materials for a client, the contract will spell out that writing the materials in that specific contract are ALL you’re going to do, and that any work that is outside of what is listed in the contract must go under a separate contract for a separate price.

Resources
Around here, they fight remote work, too. Although they are often loathe to give you desk space, a decent chair, a drawer in a file cabinet, or anything else you might need.

About a year and a half ago, I went in to talk to one potential client who wouldn’t even consider having me work remotely, but my “desk” would be a board set up across two oil drums during the hours I came in to work there. Oh, and, by the way, although the job was for a marketing position, I’d also be doing some light bookkeeping, responsible for payroll, and answer the phone for two hours a day. And I should be comfortable with the men in the office making inappropriate comments, because, you know, that’s how men are. Oh, and the ad had the “wrong” financial information. It’s actually minimum wage, with no benefits.

Buh-bye.

Then there are the employers who tell you that you have to supply your own laptop (and what brand) and iPhone (and how much memory it has to have).

The response to that is “My kit fee for providing my own equipment is X dollars/week on top of the project fee.”

That always gets a shocked response, too.

No, sweetie, I am not carrying the cost of your electronics. You want me to use a particular piece of equipment? YOU supply it. Or you pay me a kit fee if I’m using my own. Not to mention the insurance I have to carry, in case anything happens to it while I’m using it for YOU.

Sales/Marketing/Promotion/Advertising
Far too many businesses lump them all together. Marketing and Sales often work closely together, but they are not the same thing and require different skills.

When I worked in wardrobe, on Broadway, our union contract specified what each element contains.

The biggest misinformation that’s taken hold over the last few years is that the Marketing Director performs the same tasks as a Sales Rep.

No.

As a member of the marketing team, my job is to engage and enchant the audience and expand the potential audience. I get them interested in the product or onto the site. It’s up to the Sales team to close the deal, provide necessary customer service, and get the money transferred.

Promotion uses elements from both sales and marketing teams, and often involves swag. A tangible object, usually with a logo and a website address, that a random person can have and hold, and think of the product/organization every time they see or use the object. Seeing it regularly, if and when it evokes a positive response, will result in another sale/another visit/further engagement. Sales and marketing often brainstorm the ideas and products, marketing finesses the content/logos/pithy quotes and gets them into production, and sales distributes them and follows up with potential clients.

Advertising is the visual and/or audio engagement where the company pays for placement, such as on a radio station, or web advertising, or newspaper advertising or program advertising. More and more often, it’s called “sponsorship” — but it’s still advertising. The sales and marketing team create a slick product that the company pays to place, in the hope that where it’s placed reaches the right audience that are then interested in the company’s product, which results in sales numbers that are higher than what was paid to create and place the ad.

Marketing and sales work often work together, but the actual tasks are different. It’s vital they work well together as a team, but it’s marketing’s job to create and engage, and sales’s job to close the deal. Marketing is more of an introvert’s task (because it’s about content creation and placement), where sales is more of an extrovert’s task.

The reason so many businesses are struggling, especially small businesses, is that they try to bunch it into a single position. The person they hire is generally better at one side of it or the other. A great marketing person is not necessarily a good sales person. Great content and a beautifully planned campaign need time and space — uninterrupted work time and QUIET. A great sales person may be able to laugh and joke and glad-hand, but not necessarily create the content or plan a fully-rounded, multi-platformed campaign.

That doesn’t mean the marketing person never goes out and represents the company — they often do. Many do it very, very well. But the delineations are important.

In the long run, it doesn’t save the company money to hire one person to do both not-so-well, rather than two people who are excellent at their separate pieces of the puzzle.

Same with the demand that the writer also be able to do the graphic design. Those are separate skills. Great writers paired with great graphic designers create great product.

I’ve worked with potential clients who decide I’m too expensive, and have their graphic designers write the content. Yeah, it looks great, but the content often makes no sense and is full of errors. Or the client demands that I do the design, but wants me responsible to also research permissions, pay permissions fees for visuals, use any Adobe or Dreamweaver skills — all at the quote I gave for content.

No.

These are distinct skills that deserve fair pay. If you’re offering yourself on a job site to do all of this for $20, you’re screwing yourself and all the rest of the freelancers out here working hard to retain respect and earn a living.

Time
One of the things most employers don’t understand is how much time it takes to create materials. UNINTERRPUTED TIME.

When a listing talks about a “busy environment” or “must have ability to juggle projects” or “multi-task” — it means they will dump anything they don’t feel like doing on you, and interrupt you every fifteen seconds, never allowing you to get anything done. And then wonder why the marketing materials aren’t done on time or have errors on the first few passes. The expectation is that if you need quiet time, you do it after hours. Without pay.

This, of course, could be avoided if they’d give you uninterrupted work time, or, better yet, if they respected their freelancers enough for remote work.

I am much more productive and efficient in my own space. It actually saves the business money when I work remotely. They get a higher quality of work with a shorter turnaround time.

Also, when they are sitting there staring at you while you work, they assume any time you are on social media, you are screwing around on company time.

No, honey, you hired me to handle your social media. That means, in addition to creating the content, I have to be on the various platforms both to post and to INTERACT. Just tossing content on a platform DOES NOTHING.

This requires time. Every day that is scheduled to work. Not just charging X dollars per tweet, but factoring in the time you need to respond, follow, interact, and grow the audience.

Ask Questions Before You Take the Job
Ask questions about all these elements in your early client meetings. Find a way to work that is productive for both of you and then PUT IT IN WRITING.

Liking the client doesn’t negate the need for a contract.

What are some of the frustrating demands you’ve encountered? How did you deal with them?

Ink-Dipped Advice: Crafting Client Voice

“Voice” is a term that is used in writing to denote that special way an author puts together words in order to resonate with a reader.

Authorial voice is something some writers struggle to find and then hone for years. It is something that makes a reader recognize it’s you and not one of your ten thousand colleagues within the first paragraph.

However, when you stretch yourself to marketing writing for others, it’s not about YOUR voice. It’s about your client voice. That brings with it special challenges.

First, whose voice is the client voice? Is it the person who hired you? Or the person who owns the company? Or the person who runs the company? Or has this particular company created a character that’s the face of the company that needs a voice? Or is it a combination?

When you come in to work on marketing materials, one of the most important questions to ask early on is “Who is the voice of the company?” Not “what” but “who.”

Far too often, marketing materials miss because there is no cohesive voice. Even if it’s a collaborative or a co-operative, and different voices are featured, there needs to be a single, unified voice that represents the company.

Part of your job as a writer for that company is finding that voice and then developing it.

This is where my theatre training comes in. Because I know how to create characters, both on the page and with actors, I can work with the decision-makers in the company to create a voice and then use it consistently across the different types of channels — press releases, social media posts, websites, etc.

It can be a challenge when there are too many voices (often with egos attached), and you have to both combine them and distill them to create a distinctive voice. It can be a challenge when you’re working with a small business owner who is still trying to find the voice and wants their own personality to be the voice.

Handling their egos in this is a delicate matter. We all deserve basic human dignity and respect. But many people aren’t as interesting to a vast audience as they think they are. So they need help developing a business voice that is individually “them” but also better. It’s the Best Self, the most polished and professional and witty and funny and incisive self that also engages an expanding audience and interests that audience in whatever the business needs to promote/sell/serve to stay in business.

The first step in this is to genuinely LISTEN. Out of the first ten thousand words of what the client thinks they want, you might find 20 that are useful.

For me, it is use-LESS to have these conversations on the phone. In general, I find the phone a waste of time, money, and creative energy. I’ve never had a business phone conversation of more than 90 seconds that had value.

The conversations that develop voice need to happen in person or via video conferencing. The person’s tone, the facial expressions, the body language, the light in the eyes, the places they smile, what they find amusing — all of this is vital for the writer to craft the character and voice that will represent the brand. You enhance what works, you recede what doesn’t.

You create a character and a style that effectively communicates the message and expands the audience.

That has NOTHING to do with slathering photographs of the business owner and workers all over the place. In my opinion, selfies do more harm than good in business. It doesn’t “personalize” the business or product; it dilutes it.

Having a spokesperson is different — those photos are done in designated shoots with a specific purpose in mind. The spokesperson is chosen for the ability to promote a specific look and voice that the decision-makers believe best represents them.

If the business wants headshots of specific individuals or a page on the website of workers happily going about their day — great. But there’s a time and place for those types of photos, and it’s not a daily social media post.

The exception to that could be a service organization — but then you need to get signed releases from everyone you photograph. Someone coming into your space is not automatic permission to be photographed and shared publicly. People get to decide where and how their likenesses are used.

If you try to force them, you will lose them.

You want to capture the speaker’s natural rhythm and cadence; at the same time, you enhance it, strengthening sentence structure and word choice, cutting out the boring bits, the qualifiers, the passive. You do this while retaining the speaker’s cadence.

When I write a speech for someone else, when I do it well, the speaker sounds as though speaking off the cuff – even though we spent hours honing it and rehearsing it. Once we researched it.

Yes, as the writer, when I write something that will be spoken live and/or taped, I’m the one who rehearses the speaker. Part of that is my theatre training. Part of that is that I can rewrite and make necessary changes in the rehearsal process so that it sounds even better and more natural.

Because I LISTEN. I listen as the writer, but I also listen as the audience. I work on multiple levels simultaneously, because the material I create must work on the audience on multiple levels.

So talk, listen, create a voice, and work with those who are the face of the company (speaking engagements, chamber events, trade shows, etc.) so they speak in a similar cadence to the marketing materials. Yes, they are themselves. But when they represent their company, they have to align themselves with the company voice.

Even with a small company, it’s a lot of moving parts. It takes thought, planning, creativity. But most important, you need to listen. You need to understand subtext. You need to be able to shear away the words, gestures, and quirks that dilute the message and focus it in a way that’s easy to speak and easy to hear.

Ink-Dipped Advice: Handling Work While Sick

 

I decided to write about this topic on this particular week, because I’ve been sick the last couple of weeks, which has meant rearranging some of my workload. I talk about the guilt involved whenever I get sick on the January 21st Ink in My Coffee post, and how that doesn’t do anyone any good.

But here, today, I’m talking about steps to handle the workload during an illness. Please feel free to leave your suggestions and techniques in the comments.

Communicate
For me, that is the most important tool in handling work at any point. But, when I know I’m getting sick, or am sick, clear communication is the key. If I’m expected on site for something and I’m sick, I let them know as far ahead as possible to reschedule it, or change it to be remote work.

There are times when you get hit with something overnight and can’t let the client know until the last minute, but, for instance, if I have a bad cold with a hacking cough and can’t talk, I let them know that I’m not coming in to spread germs and cause tension in the workplace a day or so ahead.

I give myself a realistic time to get well and reschedule beyond that. Whatever can be done remotely before that time, I will do, but I try not to book remote work to do while I’m still sick. I won’t get better if I spend “sick time” sitting up at the computer frantically trying to get things done.

Build Breathing Room into the Original Schedule
Procrastination is something many writers contend with. For some writers, the tighter the deadline, the higher the adrenaline, and that’s how they prefer to work.

But if you get sick right before a deadline, it can come back and bite you in the butt.

I try to plan out my workload so that nothing is loaded too close to a deadline. There are plenty of times when I don’t send it until the deadline or a day or two before, but I often have it finished ahead of time, and do a final once-over before the send.

This way, I’m not scrambling right before a deadline. AND, if I get sick, it’s already ready to go when it needs to be out.

Building in breathing room. It always keeps the pressure off, and you’ll especially find it useful when you get sick.

Know When to Ask for Help
If you’re down for a long time, and you’re worried about losing the gig, talk to your client and ask if you can bring on someone else of your choosing to help with the project. Hopefully, we’ve built a network of fellow freelancers we trust. We can either work together, or hand off the project, depending on the needs of both client and writers.

Tell the Client About Scheduled Procedures
If you’ve got a surgery and recovery time scheduled during a project, be upfront about it. Let the client know how much you can realistically work ahead on the project — provided they deliver what they need to on their end on time. Let them know what you believe is a reasonable schedule to resume after your recovery time. If possible, build it into the contract.

If you have an accident or something unexpected that requires surgery/recovery time, etc., let the client know as soon as possible and work out a new schedule.

In some cases, you might lose a gig. But being upfront shows you have integrity. If you know you’re having surgery and need recovery time, but don’t mention it in early discussions, and then run into a problem during that time, you’re breaking the client’s trust.

I am not someone who believes it is easier to beg forgiveness after the fact than ask permission. If I find out someone didn’t ask permission/communicate when they knew something important ahead of time, I know that THEY knew I would refuse. It shows a lack of respect. I don’t forgive. I’m done.

Retain a Professional Look If You Skype
While you’re sick, you might be talked into participating in a virtual meeting on a project via Skype. While sitting there in your pajamas with your hair a mess and wadded up tissues next to your half-empty bowl of soup “proves” you’re too sick to come in, it’s not going to help with the meeting.

Remember you can say no to the meeting, that you’re not feeling up to it.

If you say you’ll do it, shower, brush your hair. Even if you wear more casual clothes than you would in person, make the effort to look professional.

Shower Anyway
Yeah, when we feel sick, the thought of taking a shower is often overwhelming. But I always make myself do it, adding eucalyptus and other scented tablets to the shower to feel better. It makes a huge difference to climb back into bed clean.

I also have “day pajamas” and “night pajamas” when I’m sick. Especially when I’m absolutely miserable, I haul myself into the shower and then put on clean “day pajamas.”

I am, however, someone who does not work in pajamas. Even when I work remotely, without Skype, working in pajamas does not work for me. I don’t dress up, but I do get dressed in what I call my “writing clothes” which are casual, but lets my subconscious know I’m ready to work.

Yes, there are writers who love working in their pajamas. Good for them. It doesn’t work for me. Pajamas tell my subconscious to go to sleep, not be creative.

If You Work, Be Quiet About It
You may feel well enough for an hour or two to do some work on something. Do it and save it and look at it again when you’re better. Don’t send it off to prove you’re really “not that sick” or that you’re staying on top of things. I make more mistakes when I’m not feeling well. That extra proofread when I’m healthier makes a big difference.

I find that I can often create when I’m lying in bed, half-dozing. I keep a pad of paper or notebook by the bed and take notes.

But I don’t do much with them until I’m coherent again.

Also, if you get into the habit of delivering work from your sickbed, it will become the expectation. Do everyone a favor and hold onto it.

Take the Time to Get Well
That’s one of the most important parts of it. If you push too hard too soon, you’ll get sick again and be out longer. If you can take time early in the cycle and get well, do so.

If you need to tell the client, “I’m sick, I’ll be out of touch for three days,” do it. Turn off your phone. Don’t return calls. Check your emails once a day if you feel you have to, but you don’t have to respond.

How many clients have you had where they drag their feet on what they’re set to deliver, but the minute you’re out of touch, they need an instant response? There’s very little that’s so important.

Remember the old adage “Your disorganization does not constitute my emergency.”

Hopefully, you’ve built some safety valves into your contract for the above.

But when you’re sick, take time. Sleep. Eat properly. Watch and read whatever you want. Rest. Get well.

Because once you’re well, you’ll be more productive, and that serves everyone better.

Ink-Dipped Advice: The Personal Strategic Plan

Businesses have strategic plans, update, and implement them regularly. Perhaps you already have one for your freelance business (if you’re a small business owner reading this, rather than a writer, consider hiring a good writer who knows how to put one together to help you — it will be some of the best money you’ve spent, provided you actually follow through).

Perhaps you don’t yet have one. And, as a freelancer, we choose to live our lives differently than a business, with more freedom to use our lances where we choose. So it’s more personal than many corporate plans.

You need several elements to create your own plan:

Vision
Where do you want to be? When do you want to get there? For me, as an individual at this point in my life, ten years is too much. I look at five years, then three years, than a year (also, for me, considered New Year’s resolutions).

I’m not a big fan of “vision statements” because I think they often use market speak to cover the real destination/determination. But if you feel a vision statement is helpful for you, craft one. If you feel sharing it will garner the business that helps you reach your vision, then, absolutely, post it on your website.

Part of my “vision” when I work with clients is to communicate THEIR vision in an exciting and engaging way, and in their unique voice.

With my own work, my vision has to do with each project improving in both art and craft, over the previous ones.

Some people break down “vision statements” and “mission statements” into separate categories. I feel they should be integrated, especially for a personal plan.

Core Values
Whenever I see a company talk about “core values” I am suspicious. Do they walk their talk?

But for your own strategic plan, you have to decide what your core values are in relation to how you want to progress in your working life.

One of my values is that I now extend my practice of “conscientious consumerism” to when I hire on with clients. If I don’t trust their integrity and values, if I feel they are hypocritical, or if they are trying to profit off something I believe is harmful — we are not a good match.

We all have to make our own decisions, and draw our own boundaries.

SWOT Analysis
This means:
Strengths
Weaknesses
Opportunities
Threats

I’m not a big fan of this element of a strategic plan, although it’s good to clinically look at your own strengths and weaknesses, and then decide how best to use both.

Opportunities? As freelancers, we daily create our own.

Threats? For freelancers, it’s usually the threat of our work and boundaries not respected.

Read a few corporate strategic plans and the SWOT will chill you. It explains a lot of why we are in the mess we’re in.

Long-Term Goals
This is important. As freelancers, we’re often trying to get through the day, the week, the month.

Look at the best of the freelance community, the ones who thrive — they’re looking ahead. They’re using each assignment as a building block to long-term goals, not as a stopgap.

Break yourself out of crisis mentality and look at what you want long term.

Again, most of us are freelancers because we want a better work/life/personal/creative balance. In our personal strategic plan, we need to work on goals for different areas of our lives.

As freelancers, we tend to want and need a more integrated life than a compartmentalized one.

Manageable Steps with Deadlines To Reach Them
It’s great to take time to come up with all these lists and plans, but if you don’t take action on them, it’s all useless.

Break down your goals and visions into manageable blocks, and give yourself a deadline for each one.

We’re freelancers; we’re used to deadlines.

Then take the actions necessary to see them through.

Timed Assessments
I like to check in with myself on my goals every month, and then do a big reassessment every year.

Daily To-Do lists make me feel confined and imprisoned; monthly ones give me the flexibility I need to get it all done without feeling overwhelmed. See what works for you. It’s okay to change.

Adjustments
As you assess, as you grow, you will see that you have to let go of some things in your plan you were sure about early in the process.

It’s okay. It’s not failure to realize that something no longer works in your evolution. It’s healthier to let it go than to stick to it just because you wrote it down.

Implementation
The most important thing, in any strategic plan, though is to take action and not expect it to happen without the work just because you wrote it down.

The elves aren’t going to show up and write your books and clean your house and send out your media kits and LOIs. You have to sit down and put in the work.

Start now.

Ink-Dipped Advice: Multi-Tiered Self-Marketing

I mentioned last week that I was working on both a marketing plan and a personal strategic plan, and that there would be places where they would intersect.

The personal strategic plan won’t be ready until sometime in February. But I’ve been working on the marketing plan, because that’s important to land the work.

My plan is multi-tiered. I work marketing myself as far as the books, plays, radio plays, etc. I work marketing myself when I pitch to publications or bloggers editors.

I also work marketing myself to potential clients, where I write up THEIR marketing plans. A future post will talk about some of those challenges, especially when it comes to small businesses.

Each of these tiers has a slightly different focus. A different slant.

I’m an advocate of media kits, especially for authors. You want top-tier coverage? Put together a good media kit and get it out there.

My own challenge with my main media kit is that I tried to put too much into it and it became unwieldy. So I’m streamlining it. That’s a conversation for another day.

First Question
For me, the absolute, most important question in any marketing plan is:

What do I want?

When it comes to the books, the answer is “book sales” or “coverage that will lead to book sales.”

When it comes to the plays or radio plays the answer is “a production contract.”

When it comes to publications/editors, the answer is “a well-paid assignment that will hopefully lead to more of the same.”

When it comes to potential clients, the answer is “a meeting to see if we are compatible.”

The latter answer is fairly new. The answer used to be “hired by the client.”

But what I want from a client relationship has changed, especially over the last year and change. It’s not just about getting hired, any hire; it’s about working with and for someone I can like and respect. Someone I believe has ethics and integrity on multiple levels.

You can talk all you want about how “being professional” means you can work with anyone. Great. Go ahead.

That is not my choice.

I want to work with clients who have both personal and professional integrity. Who are doing something about which they are passionate. I might not know much about it, or be passionate about it myself, but if they love it, I can use that passion and communicate it effectively, thereby growing their business.

But not if I think they don’t have personal and professional integrity. That is a personal choice. Separating last year from a client whose ethics I felt were shaky (although everything was technically legal) was the right move.

This shift changes the way I market myself to clients. It means I do more research earlier in the process about the client and the business, before I even send an LOI. Not just that they’re a company with some stability and not a fly-by-night, but more about how they do business, with whom they do business, how they interact in the community.

It also adds value to the initial meeting.

So, my first question in any marketing plan for myself is “What do I want?”

Which is different than when I meet with clients to work on THEIR marketing plans — again, a conversation for another day.

Different Strategies for Different Tiers
Since I do many different things, I work on a strategy for each type of work I do. My marketing plan for the books includes new releases, the back list, re-releases, how I work with the publisher, what portions of the marketing burden the publisher takes on, doing swag for promotional packages, adding in appearances, workshops, etc.

Budget factors hugely in this; 2018’s biggest obstacle was not having the marketing budget to do what I knew I needed and wanted for the books. I hope to make the necessary adjustments for 2019.

The marketing plan for the plays is about sitting down with the Theatre Guild’s list and seeing what play fits with which theatres in the US, and going through lists of international companies to see if any of them would be a good international fit (although, on the current political scene, it’s much harder to go international now, which is a blow to me, since my work does well overseas). The marketing for the radio plays is similar to that of theatre plays, although there are fewer venues.

With the plays and radio plays, it’s also seeing about who’s accepting pitches to commission new works and seeing if something I want to write fits. Commissioned work is important in this field.

This doesn’t need a lot of money; it’s more about well-written plays, outlines, samples, and previous credits. It is, however, about time and research.

Articles/publications marketing/pitching is constant, because editors move and publications start and cease. It’s about keeping up with the market, having an updated portfolio of samples (or, in my case, several), and sending out pitches every week. There’s also tracking the pitches, which is important for all of them.

Pitching to clients is about networking, watching businesses and listings, and seeing who needs what, and who might not know they need something, but I can suggest an approach that is useful.

It’s full of moving pieces, and, in my case, requires a large print calendar where I can see a month or more at a time.

Every electronic calendar I’ve ever used has failed me.

Constant Flow
The hardest habit to get into is constant marketing. When you have a lot of work, you want to focus on the work, not getting more work.

But this is exactly when you need to focus on getting more work, so you’re not scrambling with NO work when you’ve finished your current work.

The more you can have certain materials ready, the less time it will take to put together your pitches and get the out the door. I talk about this in detail in my workshop and Topic Workbook Setting Up Your Submission System.

Have these pieces ready:
Current resume (I have more than one, each with a focus)
Sample portfolios (online and as samples you can send. Again, I have several)
Updated clip files (online and hard copies)
Quick bio paragraph with credits (about 250 words)
Updated website

For fiction/plays/radio plays, as soon as I deem a piece ready to go out on submission, be it to agent or editor or producer, I prepare the following (each in a separate document):
Logline
One paragraph summary
Chapter outline (if applicable)
Synopsis (if applicable)
First 3 Chapters/50 pages/10 pages in .doc and .rtf
Radio plays in both BBC format and US format (I only do US Numbered format upon request)

Keep Logs
I have a Submission Log of the full pieces that go out, and a Pitch/Query log for pitches, queries, and partials.

I dropped the ball on my LOI log last year for business writing, which was a huge mistake. I will remedy that in 2019.

Logs help you track deadlines, payments, contract dates, and follow-up.

Regular Marketing
It’s not always possible to market every day, but set aside a few hours each week, and make sure you get out there.

Taking a few days to set an overall plan for the different facets you plan to explore will save you time in the long run.

The more you pitch, the more likely you are to land a good assignment, and the less likely you’ll have to scramble during fallow times.

Ink-Dipped Advice: Holiday Considerations

We all like to get as much work as possible off our own desks and onto someone else’s before the holidays and/or the end of the year.

But sometimes, you risk getting lost in the shuffle.

Everyone needs a break, so consider the why and the who before you hit “send.”

Contracted Deadlines
Obviously, if you have any deadlines around the holidays, meet them. In fact, put in time earlier in the season (like October and November), so that you can get them in to your agent or editor a little early.

Submission Deadlines
Some contests and publications have year-end deadlines for a particular issue or event. Again, try to get it in a week or two early. Don’t wait until the last minute, when something is bound to go wrong.

Pitches, Proposals, Queries, Manuscripts
Unless I’ve been asked for something by a specific date that falls within the winter holidays, I stop submitting/pitching on December 12 and start up again January 6. Unless it’s a short piece with a quick turnaround, there’s really no point.

That means, of course, that I have to plan earlier in the year to cover what’s basically three weeks without those going out – that means I’ve pitched early, and already scheduled work that is due/pays soon after the holidays, so I don’t have a fallow period.

In theatre, we always struggled in January and February; I try to make sure I plan ahead well enough so that I’m covered in my freelance life then, too.

Of course, if you hit fallow points, then you dig in, do your research, and pitch soon after the first of the year.

But I don’t do cold pitches/proposals/queries/submissions to agents, publishers, or editors during those three weeks. It’s not fair to any of us.

I do use the time for work that has a longer lead time, or for researching new-to-me markets and preparing pitches and queries to send in the new year.

Holiday Cards
As I’ve stated before, I’m big on holiday cards. However, when I send a holiday card, it’s just about sending a good wish for the holiday. It’s not pitching myself or asking if the former client needs anything – that happens again, after January 6.

Those former clients and prospects who got cards? They get a follow up note or email, along the lines of “now that the holidays are over, what are your needs for the coming months? Is there a project where you’d like my help?”

This way, you haven’t put pressure on them during the holidays, but you’ve reminded them of your existence, and now you’re following up for business.

Planning
This is a great time to plan what you want, need, and the changes you plan to implement to your working life in the next year.

I usually start thinking about this in autumn. I have a site called Goals, Dreams, and Resolutions, where we work on questions for the upcoming year, and then track our progress.

The planning involves what I want for the next cycle, the research, and a list of new prospects. I prepare proposals or LOIs as pertinent. I have everything written and ready to go by early January.

It’s also a good time for me to look at submission deadlines for theatres for their reading cycle for an upcoming season. Then, I pitch, query, or propose as is relevant to each organization that I think is a good prospect.

It’s also a good time to assess what didn’t work for you in the past year, and what you want to change. When you know what to release, when you make room for what’s better, you can start planning active steps to make it happen.

Don’t Forget to Have Fun
Spend time with the people you enjoy.

Also make sure you pay attention to those around you who are struggling. A kind word or a helping hand can make all the difference.

Go to at least one new-to-you event locally, whether it’s a networking event or a concert or an art opening. Do something different to prepare for positive change in the new year!

Ink-Dipped Advice: Holiday Business Etiquette, Blaming Women, and The War on Theocracy

The original intent was to be a simple post on suggestions for business etiquette during the holiday season, but there’s so much crap being thrown around, that it’s not going to be simple or mild.

First, the basic common sense:

What is the culture of your workplace?
For most freelancers, the bulk of our “workplace” is the home office or the creative space we rent to work in. Sometimes, we are on site, for meetings or for short term work. Sometimes, one or more of our gigs requires us to spend X amount of hours on site (I have one long-term client where I’m in their office for a handful of hours on three regular days at the moment).

What holidays do staff members celebrate? Are there company traditions?

When I worked backstage, each show had their own holiday traditions — usually including everyone’s different holidays, a mixture of decorations and Secret Santa joy and potlucks with favorite foods of the season. It was truly a joyful time. Since we worked while others played, we built family. We shared. We made sure that those who struggled during the holidays had love and support and family.

It was similar when I worked for a publishing company and a library. We had traditions, we included, we celebrated, we supported those struggling.

As far as physical contact, it’s important to gauge someone’s comfort level. Some people don’t like to be touched, unless it’s by an intimate partner or family member. I spent most of my life in theatre. We are a huggy-kissy, physical contact bunch. We find strength and comfort in touch. But most of us (except for some slimy producers and directors and executives) can also read when someone DOESN’T feel comfortable with that kind of contact, and then we refrain.

What are appropriate gifts?
As freelancers, it’s rare for us to get a bonus the way one does in a regular company situation. I was shocked this year that one of my clients gave me a bonus. I’d grown the profile of the company in a way that was appreciated.

I’m big on cards. I send physical cards to anyone with whom I’ve dealt in the last three years for whom I have an address. I send e-cards only when I don’t have a physical address.

Depending on the relationship, I’ve sent small gifts as well as cards to my agent, my lawyer, my editor, my book designer, my copy editor, etc. Those are small gifts that show I know a little about them, and it’s something specific to their interests. Cards, too, but often small gifts. If I don’t have a close relationship, or rarely talk to the editor or whomever, then it’s just a card. But when it’s a relationship where we are in contact several times a week, it’s a gift. Nothing elaborate, but something individual and sincere.

For neighbors, local clients, and people I deal with regularly — the firemen, the library, the transfer station, my mom’s doctor, non-profits with whom I work, etc. — I prepare and deliver one of my infamous cookie platters. I talk about the cookie platters on Ink in My Coffee in this week’s Upbeat Authors post here.

The 80’s and 90’s were full of more elaborate gifts. And, in theatre, the actors I dressed and I exchanged personal gifts (in addition to Secret Santa, et al) and anyone else on the show with whom I was particularly close did, too.

My gift to my newsletter subscribers is usually a new holiday story. In following years, it may be reworked and then released, but I try to come up with something fresh and fun for them each holiday season.

If I know someone is passionate about a particular cause or charity, I’ll donate to that, in the person’s name.

Books
As a writer, I’m also a reader. I love to give books as gifts.

I’m uncomfortable giving my own books as gifts. I try to introduce friends and family to new authors I like in the genre they like to read.

Where appropriate, I also give books to work colleagues.

If you have writers in your life, I have a post up on A Biblio Paradise with suggestions for gifts for writers; an upcoming post will also be a list of books I love to give.

Greetings and the Faux “War on Christmas”
If I know which holiday or holidays someone celebrates, I greet them with their holiday. If I don’t know, I with them “Happy Holidays.”

“Happy Holidays” is not an insult. It is an inclusion.

I had a client, a few weeks back, start screaming, “it’s Christmas! It’s Christmas!”

I looked at her and responded, in that calm, reasonable tone guaranteed to annoy, “I start my celebrations on October 31 and go straight through until January 6. There are a lot of holidays in there. I celebrate holidays.”

She shut up.

There is no “war on Christmas.” That’s a marketing term by those who want this to be a theocracy. What they are doing instead is to wage war on inclusion.

Not going to let your narrow definition of the holiday destroy my joy in celebrating the holi-DAYS.

When I lived in NYC, just off Times Square (I could see the ball come down from my window), our entire floor used to put up a display that included Winter Solstice, Christmas, Hanukkah, and Kwanzaa. We had potlucks and cocktails and enjoyed each other’s joy all season.

The Corporate Holiday Party/Blaming Women
There’s a lot of huffing and puffing this year that companies have cancelled their holiday parties because of the #MeToo movement. They claim they’re worried about lawsuits.

I call bullshit.

First of all, this is an excuse for them to save money. Instead of spending money putting on a nice event for the people who actually do the work, they can hand a check to executives who sit on their asses all day while their assistants to the work.

It’s about money.

Second, it’s a way to reinforce the “blame the woman” cliché. Women are blamed when men prey upon them, harass them, or attack them. They wore the wrong clothes, they said the wrong thing. They smiled or didn’t smile. They were breathing.

It’s a way to blame women for “ruining the fun.” It’s a way to say, “We can’t have fun because you’re too sensitive and can’t take a joke.” Because, hey, there can’t possibly be a party with laughter and alcohol and witty conversation if there’s no groping or hasty sex in a closet involved.

What an insult. Not just to women, but to men.

Hey, corporations, how about not hiring sexual predators and harassers? How about working on changing your culture, instead of the nudge-nudge, wink-wink and then telling women they have to “deal with it”?

When I was in college, I worked as a temp for a lot of companies. One of them was a large company, now defunct. The male executives would go out to lunch every day and come back drunk, and start groping the women who worked there. I wasn’t having it.

I complained to their HR department, and was told, “they’re just being boys.”

Most of them were middle-aged men, married, and should know better.

I complained to the temp agency and was told I had to “deal with it, because it’s important to keep the client happy.”

The next day, I slugged the man harassing me, walked out, and quit that temp agency.

I have no regrets.

By the way, that temp agency no longer exists, either.

We’ve forgotten how to flirt. We need to take lessons from some of the Europeans, especially the French. Flirting isn’t about scoring later that night (necessarily). It’s about acknowledging and appreciating the attractive qualities in the person with whom you’re interacting, without pressure.

We can be witty and gracious and friendly and charming without being aggressive. We can enjoy each other’s company — even over drinks — without demanding the Big Finish.

We can appreciate each other as people.

The best holiday parties support that. You get to talk to people you don’t normally see often, and can have actual conversations. It’s not venting about work. It’s about appreciating your co-workers as unique and interesting people.

That is how we take back the holiday party.

Your company’s not throwing one this year? Host a potluck, invite your co-workers, and to hell with the corporate crap.

When In Doubt, Create What You Crave
Holidays can be stressful because they come with expectations.

Instead of letting others dictate how you feel during this time, decide how you WANT to feel.

Integrate your favorite traditions of past years with new traditions that evolve, and that make you and those around you happy.

If someone derides what you’re doing, listen. Are they in pain? Do they need or want to be included? Or do they just not want to participate? Do they want to force you into bending to what they want? Don’t force participation, don’t be forced into doing something you don’t want to do, but leave room for those around you to be included, as they want or need to be.

This ties in to another post I wrote for Upbeat Authors a few months ago, about conferences. About being the one who notices the wallflower, the shy one, the scared one, and offers a smile, and says, “Pull up a chair.”

Especially at this time of year, it matters.

Ink-Dipped Advice: Navigating the Holidays

 

We’re into the holiday madness now. Of course, I consider the “Holiday Season” to be October 31-January 6, but there you have it.

How can you balance all the extra demands on your time with the extra demands on your freelance time?

Planning.

This is the time of year when your family and friends need –and deserve — more attention.

This is the time of year when your clients are worried about year-end campaigns and planning for next year.

This is the time of year when you need to start planning where you want to expand and enlarge your own reach next year.

As far as pitching to agents, editors, etc. in fiction markets, unless I have a set deadline, I do not pitch projects between December 12 and January 6. It’s just not fair. As tempted as I am to get things off my desk and onto someone else’s, it gets buried with everyone else doing the same thing.

I do research markets and prep proposals during that time (when I can), but I don’t start submitting again until January 6.

Here are some other tips that work for me:

Calendars
Your calendar is always your best tool, but especially during the holidays. I like to use the large desk blotter calendars. I have yet to have an electronic calendar that hasn’t failed me.

I put different elements in different colors. I work backwards from deadlines, break down projects, card writing, baking, etc., into workable chunks, and put them on the calendar.

This way, I can look up from my desk and keep track of what’s going on, and where I am at any particular point. I can also adjust, if necessary. I can get ahead if and when I ever find a pocket of time; I know if I’ve fallen behind, and can add in additional work sessions as needed.

Cards
I am a huge believer in old-school cards, especially around the holidays. It’s a way to stay connected to current contacts, and reconnect with those with whom you’ve lost touch.

If I use a holiday card to reconnect, that’s what it is — a reconnection. Not a request or demand for anything. But a simple well-wish.

For those with whom I reconnect, I usually send off an email or a postcard after January 6, asking where they are and what’s going on, if they need anything, if they’d like to set up an appointment. I do NOT add that in to the holiday greeting. I keep it separate.

By the way, post card contact usually gets me a 25% response rate, whereas email only gets 12%.

Assessments
I keep track of my Goals, Dreams, and Resolutions on a monthly basis (daily To Do lists make me feel trapped). I spend a couple of months at the end of each year assessing and making plans for the following year.

How much do you NEED to earn to pay your bills, keep a roof over your head, keep a quality of life?

How much do you WANT to earn for the extras?

How do you plan to get to both of those numbers?

I write, daydream, plan, strategize, and come up with what I think and hope will work for the coming year. I post it at the beginning of the year, and track it.

I also remain flexible enough for new opportunities to come in, and to drop what doesn’t work.

I assess and reassess every month. My GDRs are a roadmap, not a prison.

Market Lists
Once I assess where I am, where I want to be, and how to get there, I research markets and/or clients. I start putting together pitches, packets and LOIs. My goal is always to send out at least three LOIs a week; I don’t always meet it. When I’m deep in client work, I often let it go, which is the wrong thing to do.

When you’re deep in work is the best time to seek other work. The energy of your current work will spill into your LOI and make you more attractive to future customers.

This past year, I pitched fewer articles. I miss article writing. So in the coming weeks, I will research article markets, prepare pitch packets per their guidelines and editorial calendars, and have them ready to go at the turn of the year. If I see a call that’s got a deadline during the season, yes, I send it. But, for the most part, I wait until January, when everyone’s ready to get back to work, and to build a new slate of projects.

I hunt down reputable listings (in other words, people who vet them as paying a fair wage, such as Jenn Mattern’s All Freelance Writing). I always read the online guidelines before submitting, because guidelines change as editorial needs change.

Most important — I FOLLOW the guidelines. An acquisitions editor I know says 85% of the pitches she receives are tossed because the writer didn’t follow guidelines. Guidelines are the first test to see if you are someone with whom the publication wants to work. Are you worth their time and energy? Because if you can’t be bothered to pitch within guidelines, there are 10,000 other writers lined up behind you who are just as talented as you are who can. One of them will get the job.

My favorite way to create pitch lists is to sit down with the most recent print edition of WRITER’S MARKET, a pad of paper and a pen, and take notes. I read through the listings of any publication for which I think I could write. I make notes. I then check the guidelines ONLINE before I send the pitch.

Working only online, within search criteria, limits me. Reading through the entire book, with all the different publications, opens me to new-to-me publications that wouldn’t turn up in narrow search criteria.

The Personal Strategic Plan
Organizations create strategic plans to forward their growth and agenda. There’s no reason an individual can’t do the same.

It’s a little different than the Goals, Dreams, and Resolutions, while enveloping them.

In the GDRs, I list three practical steps to turn each goal, dream, and resolution into a reality.

The Personal Strategic Plan can go into even more detail.

The trap in going into too much detail is that you build yourself a prison. Workable steps are necessary. Too many details can keep you from noticing and seizing opportunities that could take you farther than your original ideas.

At the same time, you don’t want to pursue every new, shiny idea and abandon your plan completely.

You need balance and common sense.

Build in Fun
Between shopping, working, cooking, assessing, planning, wrapping things up, starting down new roads — you need to have fun. That’s what holidays are about — joy.

What gives you joy?

Think of the time from now through the holidays as “Days of Joy.”

Every day, do one thing that gives you joy, no matter how small.

Watch the positive ripple effect in the rest of your life.

Then, remember to build in the fun into your Goals, Dreams, and Resolutions, and into your Personal Strategic Plan.

We are freelancers in order to create our best lives, not live it for someone else’s convenience.

Ink-Dipped Advice: Word Choice Matters — and Has Power

I had an interesting conversation with a client the other day. She shared that she parted ways with her previous marketing/social media person because that individual did not work with her to communicate the client’s message effectively.

Ms. Marketing Pro came in with the attitude that she knew everything and the client knew nothing. She set up a series of social media channels, used marketing buzzwords, spread identical content on all the channels, but didn’t communicate the message or the product that my client sells. When my client wanted a particular type of promotion set up, or a particular message communicated, she was told that she didn’t know what she was doing, and to leave it to the professionals.

My client was paying; the business did not grow. They parted ways.

When I started working with her last year, I tweaked the message for each content platform, aiming to use the strength and identity of each platform to its best reach. In one month, I expanded the social media reach by 86%, resulting in a 26% sales bump.

I know, as a consumer, there are certain buzzwords that turn me off. If I see something listed as a “boot camp” or a “hack” — no, thanks. I’m not interested in that. Nor do I promote my own work using those phrases. At this point, they are overused and meaningless. Plus, the choice of those terms does not effectively communicate what I want to say to people. It doesn’t give them any information about what makes my work unique.

Also, if a business has marketing materials out there that show a lack of discernment between possessive/plural/contraction, as a potential customer, I assume they’re too stupid to be worth my money, and I go somewhere else.

No, I don’t approach them and tell them their materials are full of errors and they should hire me. That would guarantee they wouldn’t. But when I meet them at a networking event, I give them my card and say, “If you’re looking to freshen up your marketing at any point, I’d like to work with you.”

As a marketing person, I have an arsenal of tools I use to spread a message, that includes web content, media kits, blogging, social media content, press releases, ad creation on multiple channels, PSAs or radio spots as appropriate, pitching articles to the media, and, again, if appropriate, event scripting or video scripting.

Not every client wants or needs all these tools.

I offer them, but I don’t tell them they “have” to use them. We work together to find the best tools to communicate the message.

One of the most important thing I can do, as a marketing person, is genuinely listen when they tell me about their business, why they’re passionate about it, and what it means to them.

By listening and getting to know who they are AS WELL AS what they want, I can help them craft their story, their message, and expand their reach in a way that is unique to their business. Sometimes that does what I call “drawing the ear” — which, to me, is as important as drawing the eye.

Sure, you want strong visuals, and you need to work with a great graphic designer.

But you also need to choose the right words to communicate your message in a way that engages rather than attacks.

When someone hard sells at me, when I feel attacked or as though my space is invaded — be it physically or emotionally — I shut down. If I’m really uncomfortable, I fight back. What I don’t do is spend money with someone who makes me feel bad.

It’s often the same societal structures that cause problems when they are transformed into sales pitches. For the women reading this, how often has a male salesperson used the tactic of invading your personal space, of patronizing you, of treating you as though you should “listen to the man” in order to part you from your money? Or how often has a female salesperson used negative language to make you feel bad about something personal, and tried to convince you that only by listening to her and buying the product, can you feel better and will you change others’ negative perceptions of you (which exist in her mind, and which she tries to plant in your mind).

At this point in my life, when someone is aggressive towards me, I push back. Hard, without filters. As a potential customer, I tell them exactly why I’m not buying what they’re selling.

As a marketing person trying to shape the message, I do my best to:

–listen to the client
–offer suggestions to shape the message for different platforms
–communicate the message in a way for a positive reception by the target audience
–offer options and a variety of strategies, so if one thing doesn’t bring return, we have something else ready to launch

That means choosing words with care.

Just because a marketing Pooh-bah says this is “the” way to present something doesn’t mean it is.

Wanting to cast a wide net doesn’t mean use bland language. If anything, you need to be more specific in word choices.

You want to create a positive, sensory response. So choose words to evoke positive sensations.

Sight, sound, taste, touch, smell.

The five senses evoke emotions.

What kind of emotions do you want to evoke in your audience?

Taste and smell are closely related, as are sight and touch (or texture).

Use active language — verbs rather than adverbs, and avoid passive or past perfect as much as possible. “have been eating” is weaker than “eat” or “ate.”

Use specific adjectives and avoid overused tropes. If someone tells me it’s a “bold” wine, it means little to me, other than I expect a vinegary aftertaste. If they tell me it’s a “deep red with plum, cherry, and chocolate tones” — now I have sight, texture, taste, and scent cues. Not only that, but I expect a deeper sound when it pours into the glass.

My favorite medium is radio. One of the reasons I love to work on radio dramas or radio spots is that I choose specific sounds to drive the story and character. I love that challenge because the more specific I am, the better I communicate with the audience.

Individuals will receive the specifics within their own frame of reference. You won’t please everyone. An individual may have a negative association with a specific detail you and your client choose.

In my experience, I’ve found that those are rare, and more people will respond positively to compelling sensory detail than to vague marketspeak. Overused marketing terms always makes me feel like the seller is trying to get my money for snake oil, and I’d rather put my money elsewhere.

More and more people are practicing conscientious consumerism, choosing where and how they shop to align with their values. I think that’s great. I want people who align their wallets and their ethics to connect with my clients.

Here’s an exercise for anyone who reads this to try, be they a marketing person, a business owner, a consumer: For one week, only speak and write in specifics. Remove vague language from all your interactions. Keep track of it.

You will notice a remarkable difference in the level of communication.

What are your favorite ways to choose the best language when you work with clients, or as you communicate your business?

Ink-Dipped Advice: Translating Nano Advice into Work Practicalities

 

Yes, this is another National Novel Writing Month Prep Post.

Because techniques I learned and advice I heeded in my Nano years translated well into my freelance work life.

Yes, Nano is fun and a great playground to stretch into types of writing you don’t usually try.

But can build skills.

Here are the best techniques that transfer well from Nano into professional work.

Write (Almost) Every Day
Nano’s goal is 50K in 30 days, which breaks down to 1667 words/day.

Generally, I wrote a full chapter a day, of about 10 pages or 2500 words. Unlike many people, who find it useful to end in the middle of a thought, I like to work in completed chapters.

But Nano got me into the habit of working on what I now call my “primary project” (whatever I’m drafting), first thing in the morning, when I am at my most creative.

“Morning pages” don’t work for me. But working on the creative project in draft first thing does.

This has translated well into the rest of my writing life. As Carolyn See advised in her book, MAKING A LITERARY LIFE: “1000 words a day, five days a week, for the rest of your life.”

As a professional writer, I now have to write a great deal more than that on most days, but the 1K/day on my primary project works well.

Choose the Days You’re Not Going To Write
People huff and puff that “write every day” is not realistic.

It is if you’re a pro.

But that doesn’t mean you never take a break, a day off, a vacation, a sabbatical.

The difference is that you plan them. You choose to take however many days off per week or per month.

Then you do it.

I created a handout/download called “30 Tips for 30 Days” from the motivational emails I used to send out to the writers I mentored every morning. I’ll probably post it again this November. Within that, I built days off.

The second part of that means you adjust your daily word count to cover the days off. If it’s 1K/day for 5 days a week, but then you take a week’s vacation, you up your word count for THE MONTH before your vacation to absorb the words you won’t write (or will write on something else) on your time off.

Do it BEFORE you leave, because you won’t catch up if you just let it slide.

If you choose time off and then enjoy it, rather than just letting the writing slide and “not getting around to it” you will be more productive at the desk AND more productive the rest of your day, because you don’t have the “I should be writing” guilt hanging over you.

What if life gets in the way? Unexpected illness or an accident or whatever?

Deal with your life. Adjust the writing.

I find that sticking to the writing during a crisis helps me survive and cope with it better. It gives me a break from the stress and allows me to drop into my fictional world, even if only for a couple of hours here and there.

When, for whatever reason, I can’t do that, I decide how many days I can afford (on both financial and emotional levels) to be away from the writing, and I adjust the word counts around it.

I live on deadline. If I expect to keep and grow my career, I have to meet those deadlines, even while life is happening.

Bank Ahead
Instead of procrastinating, work ahead of your daily goal, especially at the top of the month.

That translates well to so doing at the top of any project.

The first flush of enthusiasm on a new project is great. Get as much down as fast as you can early on. That way, if and when obstacles come up, you’re both ahead of the game, and you don’t forget what you meant to say but didn’t write down anywhere.

Translate that to getting ahead on any project you do, and you’ll find less scrambling near deadline, unless your client is the one dragging his feet and creating obstacles (and you’ve planned contingencies in your contract. Right? RIGHT????).

Finish What You Start
This is one of the most important things I learned during Nano, although so many people lose heart and motivation during Nano and give up.

Unfinished projects drain creative energy.

The more unfinished projects you have hanging around, the harder it is to creatively breathe. The harder it is to see ANY project through.

When you rely on creative work to keep a roof over your head, you have to be ruthless about cutting out obstacles to that creative work.

Finish what you start. Then put it away for a few days, a few weeks, a few months (if it’s on someone else’s deadline, that timeline may need adjustment).

Once you can look at it objectively, decide if you want to retire it, put it in stasis, or continue work on it. Then set a schedule and deadlines and get to work.

I teach an entire course on this, THE GRAVEYARD OF ABANDONED PROJECTS, and the workbook is available here.

I developed these techniques by finding out what worked for me within the Nano structure, then applying it to my other creative work, and making the necessary adjustments to streamline and strengthen the process.

This year, the traditional Nano structure and schedule does not work for me, which is why I created the Women Write Change forum. I may go back to Nano at some point in the future. But even if I don’t, I am grateful for what I learned there, for the camaraderie, and for the chance to focus intensely on a project for a month.

What are your experiences? If you’ve participated in Nano, what has or has not worked for you? Have you been able to translate any of it to the rest of your writing life? If you’ve never done it, have you been tempted? Why did you choose not to?

I’m genuinely interested in your answers.