Ink-Dipped Advice

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: Event Participation

 

I recently worked, with one of my clients, on an event night. She was one of multiple vendors participating in an evening by a “media group” that promised shopping, drinks, food, and entertainment to those buying tickets.

The event itself would run for three hours in the evening; the setup was four hours in the afternoon immediately prior. The vendor fee got us booth space, and listing in the event’s media, dinner for the two of us working the event, and an additional ad in the organizer’s media conglomerate.  We had to pay an additional fee for an electrical tie-in. We were asked to supply 600 of an item for the swag bags, and one item to raffle off.

As a writer, my usual part in that would have been to amplify the media, using our own channels to spread the word via blog posts, social media, email blasts, etc., which I did. My client asked me to work the event with her, and I agreed, even though it’s not technically part of the writing I do for her.

It puzzled me why people would pay a fee to shop, but, going in to this holiday season, that’s the big trend in my area. I’ve counted more than a dozen similar events coming up.

It’s all material, and I figured that I’d learn something from the experience.

The contract was pretty clear and straightforward. This is what they expect; this is what they provide. Should have been a breeze, right? There’s a contract. It’s all spelled out, in black and white. It’s signed. It’s paid for, in advance.

Even during the prep, there were warning signs. Every time we had a question, we were passed to a different member of this “media group.” They kept changing the parameters of the raffle. We were excluded from one of the entertainment events that was specific to the business, supposedly because my client “showed no interest in the initial conversation.” When my client says it never came up in the initial conversation, I believe my client over this “media group.” She’s sharp, and it was something we would have discussed.

We spent some time deciding what to bring, and we did a dry run of the booth set up at our facility.

We arrived at the facility in the afternoon, only a few minutes past the set-up start time. We were in a shabby, badly lit “ballroom” whose carpet was threadbare and stained. The so-called “booths” were rows of tables set back-to back, with aisles in between. Not that they were even finished setting up, even though event staff had all morning so to do. We were in the back corner, facing away from the rest of the facility and the entertainment, facing the loading dock.

We moved out their table, and set up our own displays, staying within our designated space. We’d also brought our own lighting (thank goodness, because the overhead fluorescents weren’t doing anybody any favors).

No thought had been given to the curation of vendors. It was higgedly-piggedly. An investment firm was the booth backing us; an accountant was beside us. That, too, puzzled me. Why where they at a shopping event? Other than they had mountains of logo swag to give away? There were also several “vendors” who were inappropriate to an event with alcohol and shopping, in my opinion.

In other words, instead of being a curated event, the organizers were happy to take money from anyone who wanted to pay.

I asked about the details of the meal, and the response was, “oh, the food will be set up in a back room during the event. Just go grab a plate however long there’s still food and bring it back to your booth.”

Wait, what?

Since when does only feeding people until you “run out of food” constitute “providing dinner” as specified in the contract? And since when is stuffing one’s face in front of customers professional behavior?

Instead of lanyards or name tags for vendors, they stamped our hands. So now we’re at a middle school dance?

 We took a break (I used it to eat at home, as well as change).

I got back to the venue about a half hour before the doors opened, to get last minute tweaks done and get settled. Only they’d already started letting people in. No security. Nothing. We were lucky our booth hadn’t been stripped.

When the event officially “started,” they dimmed the overhead lights, put on rotating red, green, and yellow disco lights. Also, they’d set up one of the speakers beside our booth space, which meant we had difficulty talking to each other or to customers.

When we asked them to turn down the speaker a bit, they turned it up instead.

When it was time for the raffle, I approached one of the organizers and asked when I should give the information to the DJ to announce it. She said, “Oh, you just have to call back everyone who’s put in a ticket to your booth and announce it in a loud voice there. He’s not doing it. He HAS a script already.”

Say what? 

Granted, the raffle parameters had changed four times in the preceding four weeks. But that was NEVER one of the options.

So I hunted down the DJ myself, explained there had been some confusion about the raffle, and could I impose on him to announce our winner?

He was delighted so to do. In fact, he was the only person at the entire event who was lovely to deal with.

We got plenty of compliments on our set up; we also heard from attendees that it was both better than last year’s event (the thought of that makes me shudder) and that they were frustrated because it had been advertised as drinks being part of the ticket price, but instead it was a cash bar. Not only was it a cash bar, but it only accepted CASH, not credit or debit cards.

I have been to other events at this facility. They insist on events only using their kitchen and their liquor. Which is why none of the local craft breweries or food specialists could participate in this event. But they have always set up payment by card.

When the shopping part of the evening was done, we broke down and were done in 10 minutes. We made maybe a third of what we needed to in order to break even. And to say it offered us “exposure” is laughable.

As I always say when I’m offered “exposure” instead of payment for my work, “People die of exposure. Show me the cash.”

I’ve followed up on the timeline for the ad that was part of the package, so we’ll see if that’s of any use.

Other vendors with whom we spoke were unhappy, too. I don’t know of anyone who even made close to what it cost them to participate. Not to mention that vendors were treated like an inconvenience instead of as the engine driving the event.

I don’t feel the organizers lived up to the contract terms. My current client is certainly not going to participate next year. And, as a consultant, when asked by other clients about the value of participating, I will say, “None.”

I’ve participated in huge events, such as ABA (what is now Book Expo) and other Javits Center events in New York, and the Frankfurt Book Festival. I’ve attended holiday craft festivals and fairs all over the world, including locally.

Never have I participated in  or attended anything so poorly run where both vendors and attendees were treated as though they were an inconvenience. 

Every event with multiple moveable pieces is a challenge. But well-run events share the following:

—They value the vendors who participate;

—They value the attendees;

—Without both of the above, there is no event, and they know it.

—Communication is clear and channels are kept open;

—The vendor works with the same person or a limited number of people during the process;

—If changes are necessary in the parameters of the event, they are brought up as soon as the decision is made, with the option for the vendor to exit with a refund, not declared as a given only when questioned on the change as it becomes an impediment to the vendor or attendee’s participation;

—The organizers provide what is agreed in the contract;

—The organizers create a secure environment on multiple levels, without safety issues.

—The organizers actually solve problems on the floor during the event, rather than shrugging and basically telling everyone too bad for you.

I was right. It was a learning experience. And some of that experience is being fictionalized into an upcoming novel.

But it’s certainly an experience I do not intend to repeat in my actual life.

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.

Ink-Dipped Advice: Should Business Writers Do National Novel Writing Month?

 

It’s mid-October, which means thousands of writers and aspiring writers are getting ready to participate in National Novel Writing Month in November.

Is it worth it for a business writer?

I write many things: business writing, novels, short stories, plays, radio drama, etc. Maybe my experiences will help you decide.

I have had some great times with National Novel Writing Month. And some frustrating ones. I’ve been a mentor to new members, sending them a daily morning encouragement. I’ve hit the 50K goal and more every time (although the year my grandmother was dying during November was more challenging than some of the other years.

I’ve gone to write-ins and meet-ups and participated in forums. Met a lot of great people. Connected in new ways with writers I already knew.

I’ve participated in Nano five times (four successive years, then a break, than a few years ago). I’ve completed four novels, and have two novels partially done (last time I did Nano, I did a “tandem Nano” where I worked on one project I’d already started, and one I started on Nov. 1). One of those partials has been retired; it will never amount to anything. One novel was torn apart and reworked over a period of years. It was published under a title that sunk it; I got the rights back, switched publishers, and it became PLAYING THE ANGLES, which launched the Coventina Circle series. One novel was put aside for several years, and has been torn apart and revised over the last couple of years; it will go out on submission to agents in spring. One novel needs another revision and then, it, too, will go out on submission. One has been put aside until I can get it into the revision queue; it has a decent premise, but needs more craft. One novel needs to find its way back into the writing queue to be finished, then revised, then go out on submission.

When I was making the transition from working on Broadway to writing full-time, Nano helped me get into the habit of writing, first thing in the morning, around 2K/day (and then I’d settle back into at least 1K).

I have discovered the work written during Nano needs more revision than other work.

50K in a month is not a stretch for me anymore. 1667 words a day is pretty normal for my first writing session on my primary project – many more words have to be written each day in order to keep a roof over my head. This is my business, not my hobby.

So, for those of us, especially in business, does it make sense to write on our own time at that pace during Nano?

Do you want to try something new? I find Nano useful as a playground, to stretch into directions I don’t normally write. In that regard, I find it useful no matter what other kind of writing I do.

Are you willing to make the commitment to do 50K on a particular project on that month? Because just writing along with Nano at your own pace, in my opinion, defeats the purpose of Nano, which is “lots of words on paper really fast without editing.”

Because of my contract schedule, Traditional Nano does not work right now. I have a book coming out in late October; another one coming out in December; another in January; I’m working on the next books in those series for next year. I’m also prepping another series for re-release and am in talks about other releases.

The last time I participated, I was disappointed in the forums, which had always been fun before. I found too much whining; not enough writing. And moderators accusing professionals of “self-promotion” every time they answered a question by an unpublished writer. It felt like professionalism was discouraged.

But I like riding the wave. And I’m tired of feeling exhausted and furious about the current state of the nation (and the world).

So this year, instead of “Traditional Nano” I started a closed forum called Women Write Change. It started as not-quite-a-joke during the Kavanaugh hearings that we need a women’s rage forum during Nano. I re-read a manuscript I’d put aside a few years ago. The writing was universally praised, but I was told to “tone down the rage, because women’s rage makes readers uncomfortable.”

This book’s time has come.

This forum is for progressive artists in all disciplines who identify as women. It’s something different than Nano, although hooking into that enormous wave of energy that happens when tens of thousands of people write during the same time. It’s a place to develop work inspired by current situations.

It’s what I need, artistically and personally, right now.

But is it worth it for a business writer, tired from writing for others all day, to do Nano?

I’d say try it once, if you want to try something different and are willing to make a commitment. You’ll learn valuable information about how you work, and where inspiration comes from.

The most important thing it teaches, if you stick with it, is to put your own work FIRST.

I have found that techniques with which I experimented during Nano have helped me in other writing. I’ve found it exhilarating and frustrating. I think it’s worth doing at least once in your life – and then deciding what you can take from the experience and apply to other types of writing.

Ink-Dipped Advice: Artists Are Expected To Settle For Less — And Shouldn’t

As a published author, I’m getting a little tired of getting pitched to by marketing organizations that want me to hand over a bunch of moolah, but refuse to commit to results.

I understand the value of getting one’s name out in front of as many people as possible for name recognition and business growth. That’s part of how I earn my living.

I work with other businesses to communicate their message effectively and grow their business. They expect me to grow their name recognition. To get their name and their product in front of those who will actually open their wallets and buy it. They expect – and demand – that the work I do – the work for which they PAY me — results in more sales.

If it doesn’t, within a reasonable amount of time, that client will end our business relationship and hire someone else who gets him a better return.

Why are authors and other artists told they must expect any different?

Almost every author/artist promotional service has a disclaimer that they can’t guarantee sales. Why not? Other businesses expect a return on their investment. Why shouldn’t artists?

They should. We should. We need to stop settling for less.

When I hire someone else to promote my book, I expect it to result in sales. Otherwise, there is no point in hiring that firm. I can do it myself.

If it does NOT result in sales, then I’ve put my money in the wrong place, and it’s time to try something else.

The way any reputable business owner does.

Because, as an artist, I AM a small business.

We need to stop settling for a lower return than any other business because we’re artists. We need to stop ALLOWING others to treat us as second-class individuals. We need to start acting like smart business people, so that we will be treated as such.

Part of that is expecting a reasonable return on the investment.

So what is a reasonable return? At the very least, I want to make back what I spent on the promotion, plus 20%. Which is a low, but that’s my personal threshold for feeling like a campaign was worth the money spent. When it goes above that, I’m delighted.

Then I see how I can build on that for the next campaign.

Plenty of people will wail that one “can’t” expect a return on art/novels/etc. The demand I’m making here will anger a lot of marketing people.

Why can’t we expect a result for money spent? Movie studios do. Television content providers do. Fine artists do. Commercial theatre productions do or they have short runs. Traditional publishing houses do, too.

Because the artist is dropped from the contract if the artist’s work does not sell.

Now, more and more artists are forced to hire their own marketing for their work. If my publisher tells me I have to get X amount of sales or I won’t get future contracts, and I’m required to hire my own marketing firm, then, yes, I expect that firm to be savvy enough in the kind of marketing I need in order to deliver the results FOR WHICH THEY ARE PAID. If my publisher paid them directly, or had an in-house marketing team do the work, the same expectations would hold. Lack of results means the business relationship ends.

So we need to stop thinking that we don’t “deserve” results simply because we are not a corporation. We are a small business, and we deserve the same results when we hire in a service as any other business does.

I’m done settling for less.

(Note: This has been a tough time, especially for progressive women. I joked on social media that this year’s Nano needs to have a “Women’s Rage” forum. Instead of that, I’m starting a private virtual group to develop creative work in multiple disciplines called Women Write Change. Stay tuned here, on Ink in My Coffee  and the main Devon Ellington site  for more information. It’ll take me a few days to set up, and then I’ll have an address where interested parties can request invitation).