Ink-Dipped Advice

Ink-Dipped Advice: The Social Media Conversation

Social Media. We love it. We hate it. We’re addicted to it. There are dozens of “experts” telling us how we “should” do it.

Social Media is pretty basic. It’s shared information, shared interaction, conversation.

That’s not how it’s used, especially not with all the trolls out there. Not worth engaging with them. Block them and move on. Use your energy for your work and for positive interaction. As a friend of mine often says, “You can’t fix stupid” and there’s a lot of stupid out there.

Social Media is also an excellent marketing tool. Freelancers can use it for all kinds of things. I’ve found some of my highest-paying gigs via Twitter. Sometimes it was an ad; more often, someone read some of my Tweets on a topic, liked what I said and how I said it, and hired me.

As a writer, I’m hired by small businesses to run their social media accounts, expand their profiles and reach, which, when done properly, increases both sales and visibility. When it’s done well. Also as a writer, I use social media to get out information about my own books, and I support and encourage fellow authors and other artists as much as possible.

If someone follows me, I try to follow back. The obvious bots and Evangelical trolls are ignored or blocked. But I don’t follow back someone who only has advertisements on the account. I don’t follow back someone who never engages with anyone else, and only posts “Buy This!” all the time. It also annoys me when someone follows me, I follow back, and I get an immediate DM trying to sell me something. That’s an immediate unfollow, and often a block. No conversation, just an aggressive demand that I buy something.

No.

I believe in buying books by living authors, and I buy as many, every week, as my budget allows. I share and comment on other author’s posts. When I read something I particularly like, I post about it. If I don’t like a book, I might post about elements I don’t like, but I don’t trash the author. Writers need to write what they write. Readers need to read what they like to read — but not demand that writers write something else.

We all have elements that work or don’t work for us. I loathe novels written in present tense. Whenever I try to read one, it feels like the author stands between me and the story, screaming in my face, “Look at ME! I’m such a great stylist!” instead of letting me live the story. I don’t care how famous the author is or how many copies the book has sold. I can’t get past page three before I’m ready to throw the book across the room.

I was deeply disappointed when an author whose work I’ve loved over the years wrote her latest book in present tense. In that case, I didn’t even make it to the end of page one.

But I didn’t complain to her about it, either publicly or privately. She has the right to write what and how she wants. I have the right not to read it. I don’t have the right to attack her on social media or to email her to bitch and moan. And no, I’m not telling you who she is. Read the above.

I engage politically on social media. Not on behalf of clients — if I run a client’s social media presence, we have a discussion about the topics and opinions that best reflect the business. Unless, of course, they are politically-oriented and they’re paying me for it — and I agree with their views. Most businesses for whom I handle social media keep the politics out of the business account and, if they engage, only do so on their personal accounts, which I do not run.

I’ve been politically active since I was 15. If you don’t want to be political, that’s up to you. But you’re not going to tell me that I can’t. Let’s face it — those who don’t like my politics won’t like my books, because my books explore many of the issues we face, even when they are set in alternate worlds or in a different time period. I have met many interesting people through political activism with whom I might never have crossed paths in real life. I value their opinions and their commitment.

An unfortunate trend is that the only way to get customer service from far too many companies is to complain about them on social media. Then their “care” division will respond. Sometimes, it’s bogus. Publicly, they will pretend to fix the problem while privately not doing anything. But sometimes, you get results.

Your profile
Think of it as the hook not just for your book, but your career. Short, interesting, but you.

How often you engage
That’s going to depend on your schedule. I try to get on social media for short periods of time a couple of times a day. A basic client package is two tweets each business day and one Facebook post. The next tier up includes a (short) blog post once a week, that is then promoted on social media (separate from the two tweets per day). I aim for at least one day a week where I’m disconnected from internet/phone/social media, etc. I need that. Otherwise, it interferes with both my creativity and productivity.

Have something to say
It’s more than just about what you’re trying to sell. It’s about why people should be interested in you rather than someone else, or in addition to someone else. Share what interests you, what excites you, what makes your world better. Balance business and sales tweets with engaging content.

Respond to other posts
Liking and sharing/retweeting is great and appreciated. But also take time to make a comment when appropriate. You don’t have to re-iterate what was said, but if you have something to add, do so. If you see someone who could use a few words of encouragement, say them. Help your contacts celebrate their successes, and give them kind words when they need it.

Proofread your posts
Many of us use our phones for social media. I know Auto-correct is my Nemesis. Or, as I call it, Auto-Incorrect. Even when I’ve proofed and fixed, it will change it back to what IT wants as I’m hitting send. But do the best you can.

Build relationships
I’ve met quite a few people in person after first getting to know them through social media. Mostly at conferences or events (safety first, always have the first meeting in public, where you feel safe). I’ve also met people at events and conferences and continued building the relationships on social media.

Don’t lash out in anger
It’s tough. Remember that someone’s page is theirs; they have the right to express their opinion. You have the right to disagree. But is it worth an argument? If you don’t agree with something, you can scroll past. You can block, you can mute, you can unfollow or unfriend. Are they threatening harm? That’s different. You have to make a decision whether to talk them down or report them to the appropriate authorities. There are times when you MUST disagree, but try to do so with as much dignity as possible. No, I don’t always achieve that either. But I’m trying to be better about it. Sometimes, an angry response is both necessary and useful. But take the time to think it through and phrase it so it says what you mean, and comes from both the heart and the brain instead of just a reaction.

Sometimes, you grow apart
On or offline, you will grow away from people. Life takes you in different directions. While social media can help keep you connected over miles, sometimes you can’t maintain a relationship. Whether someone’s path takes them somewhere you disagree with so much that you have to break contact, or you grow in a way that means you need to cut toxic people out of your life on and off line, it will happen. Try to part in peace rather than anger, and let go. Sometimes, you will find your way back into contact; sometimes not. People come into your life at different times for different reasons. Sometimes, they have to leave.

Use social media; don’t let it use you
It should enhance your life and add interest, engagement, and opportunity to it. It should not consume you, depress you, or put you in unsafe situations. Use common sense and trust your gut.

Social media can be a great, positive way to grow your network both personally and professionally. You can meet interesting, intelligent people and learn a lot. Know when to engage, when to move on, when to block. Don’t hard sell. Engage. Converse. Grow. Support each other.

Ink-Dipped Advice: Your Refusal to Network Hurts Your Business

 

This post is relevant to clients and to freelancers.

One of the things I do when I sit down with clients who want me to create marketing materials is to discuss how they network. It’s something that also comes up at meet-ups with freelancers, conferences, and other events. This helps me create the best possible marketing materials for the company. As a freelancer, networking helps me meet potential clients who need my skills; or, if I’m not the right person for their needs, I can usually refer another freelancer I know.

I’m always astonished when I get this answer from BOTH clients and other freelancers: “I don’t have time to network.”

Say what?

How do you expect anyone to find you/hire you/buy your product?

Putting up a website is NOT enough.

One of the best ways to network, whether you’re a business trying to expand your profile or a freelancer looking for new clients, is your local Chamber of Commerce.

The point of local chambers is to connect businesses with each other, so they can work together and grow the community’s economy.

Businesses, you’ll find potential markets and people with skills you need to grow your business.

Freelancers, there’s a pool of people who need your skills. And remember – as a freelancer, you ARE a small business.

Most chambers have one or more open houses during the course of a year. They’re worth checking out. Many chambers will also allow newcomers to attend one or two meetings in the course of a season before paying the fee.

Other networking opportunities include Meet-Ups, associations, non-profit events, and conferences in your town. Any community-based event can be the chance to network.

Having said that, it’s important to be appropriate in the situation. If you attend the Community Holiday Carol singalong, don’t just run up to people and hand out your card. Share the music, share the song sheets, chat with people over cider and cookies. Match your approach to the event or you’ll drive people away instead of engage them.

When I’m discussing marketing strategies with potential clients, I often hear, “Oh, I joined the Chamber for a year and it wasn’t worth the money.”

My response is, “I’m sorry to hear that. Which events did you attend?”

The response, 99.9% of the time is, “Oh, I didn’t GO to any events.”

Do you see the disconnect?

In order to engage a larger audience, you must ENGAGE. Sitting at home, paying a fee to the Chamber (or any other organization) and expecting them to chase after you is unrealistic.

Join an organization. ATTEND EVENTS. Get to know your fellow attendees. LISTEN more than you TALK.

That will give you an idea who to approach for an appointment – or even for a coffee to get to know each other better.

Walking up to a stranger, handing out a card, and demanding someone hire you will NOT get you hired. However, having a conversation, getting to know the background, the business, and asking questions to find out more and to find out their goals and dreams for the coming year – that gives you something upon which to build.

Sitting home in your pajamas won’t grow your business. Sitting in on an event, listening, learning, and then responding appropriately sets a good foundation.

Ink-Dipped Advice: Care Under Stress

I am overwhelmed with deadlines right now. I’m grateful to be in a feast cycle. I’d planned and scheduled and thought I was giving myself enough time. I’d even built in some extra time, which was eaten up.

Changing some of these deadlines is not an option. I have to step up to the plate and meet the challenges or lose the opportunities.

I intend to meet the challenges.

During this, it’s tempting to let my daily yoga and meditation practices slide. Yet, on the days I’ve done that, my day falls apart.  When I take the time — time I worry “should be” spent doing something to meet the deadlines — I’m more productive in meeting said deadlines.

Therefore, taking the time to do more when it supports the rest of my day winds up making more sense than using that time in a way that seems to meet the deadlines, but in reality, puts me farther behind.

Learn from my mistakes.

When you are under the most stress is when you need to build in pockets of time for stress relief, so that you can attack the pressures with balanced, productive energy.

 

Ink-Dipped Advice: Craft and Passion

Note that I did not write craft VS. passion. Because I don’t think they are at odds.

I love to write. That’s why I became a writer. I look at those who only want to “have written” and feel they miss so much. I love to actually sit down and form the words that create a world in which to transport readers. Make them see, feel, experience life in a different way than their daily routine.

In order to do that well, I need craft. I need to know how to construct a sentence. I need to know the shades of meaning in each punctuation mark. There’s a world of difference between what a comma elicits from what a semi-colon does; a huge difference between a period and a question mark.

My goal is that every piece I write is better, both technically and artistically, than the pieces before it. Growth, change, evolution, improvement.

I’m interested in almost everything, so it’s easy to be interested in my clients’ work and how to communicate it well. If I don’t have passion for what I do, I don’t do it well.

There are plenty of writers who disagree with me. They claim it’s “just a job” and professionals can make “anything” sound interesting. That they don’t have to agree with what they’re writing or agree with the values of their clients to work it.

It works for them. It does not work for me.

Writing is how I earn my living. It is my business, not my hobby. That’s why I froth at the mouth when people who need writing in order to communicate their business don’t want to pay for it, because they think “anyone” can do it. It’s even worse when wanna-be writers sigh and say, “Oh, I don’t get care if I get paid. I do it for the love of it.”

Why shouldn’t you get paid for doing what you love?

Why does enjoying one’s work negate the right to earn a living from it?

It doesn’t.

Throughout my life, I’ve found that those who denigrate artists (in all disciplines) and demand that artists not get paid a fair day’s wage for a fair day’s work are those who hate their own jobs, and resent that artists have the courage to go after what they want, and that artists are ruthless enough to create in spite of people trying not to pay them, trying to shame them for talent, trying to sabotage their work by demanding proof that they are more important than the art.

I’ve kicked more than one guy to the curb because he demanded that I prove he was more important than the work by not doing the work. Not because he had something equally important going on that needed my support, but just in the regular course of the day, that whatever his needs and whims were, they were more important than anything I could possibly want or need.

Gone.

A healthy, balanced relationship means that partners don’t demand that from each other. Everyone needs the other to give on occasion, but when it becomes one partner doing all the giving and the other doing all the taking — get out.

That applies to both writing and life.

I’ve ended working relationships that demand the same imbalance.

What about clients with whom I disagree?

That depends on the level of disagreement. As a marketing writer, if I think someone’s product is harmful or awful, I’m not going to take them on as a client. I won’t do a good job, and they should hire someone who will. I don’t find it a “creative challenge” to convince people to buy something I think is awful.

When it goes deeper, and in this political climate, it often does, I have to weigh what the job is and how what I do promotes an agenda I feel is hateful or ignorant or harmful. If we simply disagree in our approach to how to reach issues where the end goal is the same: a better world, a cleaner environment, social justice — we can focus on the work and agree to disagree on other stuff. If a client actively participates in or promotes a platform of hate, discrimination, oppression — not going to work for that individual.

As a consumer, I believe in “conscientious consumerism.” That means I put my money to companies and products that align with my beliefs. If the owner of a company starts spouting off in a hateful manner or implements discriminatory practices, I will not buy their products/shop at their stores. That doesn’t mean I expect them to change; it means I will spend my hard-earned money elsewhere.

When someone criticizes my political activism and tells me that they won’t buy my books, that is their “conscientious consumerism.” They have the right so to do. Chances are they wouldn’t like my books anyway, because my books deal with love, loyalty, social justice, building a better world (something I think is effectively achieved in genre fiction). My political activism reflects those issues. So if someone doesn’t like what I stand for politically, they’re not going to like those aspects of my books. Life is too short to read books one doesn’t like. They should spend their money on other authors, whose work resonates better.

But I’m not going to write books based on a reader threatening not to buy my books because I stand up for that in which I believe.

When there’s a boycott of a personality or a company or an artist because of what he or she believes, I always watch the trajectory of it. Did the person just say or do something stupid? We all do or say stupid things sometimes. If there is an apology, is it genuine? (“I’m sorry IF I offended anyone” is not a genuine apology. You offended. You’re sorry or you’re not sorry). How does this incident fit the overall body of work? Is there a pattern? Has the mask finally slipped and the individual shows the real self? How does it affect my response to the art? If future art goes in a different direction, does it come from a genuine place of exploration or someone desperate to save a career? I make decisions from there. We all make mistakes. But there’s a difference between a mistake and trying to do better, and pretending you don’t stand for something when you do.

But isn’t art — and the best art is a mix of craft and passion — supposed to change the way one sees the world? Absolutely. That means I read books by people whose viewpoints I disagree with. I might still disagree with them at the end of it, but I’ll have a better insight to the thought process.

That’s why libraries are so important. They contain multiple points of view on issues, and one can find an array of opinions on a topic, research those behind opinions, and make informed decisions. That’s known as critical thinking, which falls by the wayside far too often.

How does that fit into a discussion of craft and passion, especially when it comes to business writing (and I’m mixing business writing with other forms of writing here)? Because who you are and for whom you choose to write matter.

The best writing combines great craft with great passion. It doesn’t matter if it’s selling tires or urging people to register to vote or the latest thriller. Words matter. People are shaped by the words they read and hear.

The more passion you meld with the more craft you’ve built — you can change the world in a tangible way. For better. Or for worse.

The choice is yours. So is the responsibility.

Write with craft. Write with passion. Write a better world.

Ink-Dipped Advice: Fake Pitches That Alienate

The new websites are working. So are the contact forms, which makes my life easier, although I’m still getting too much spam. I’m getting positive feedback and informational requests from possible clients.

I’m also getting lots of demands to host paid guest bloggers and for re-design.

That’s right, not a pitch or a request. Demands.

Not only do most of these idiots make it clear they can’t write a coherent sentence, they haven’t bothered to look at the site, comprehend the content, or craft a reasonable pitch.

What they guarantee is that I won’t have anything to do with them, and if anyone else asks me about them, I won’t have anything positive to say.

“what content to do you post and how much do you pay?” is not a pitch that gets you the work.

First of all, look at that sentence. All in lower case. No salutation. At the bottom, was the individual’s first name only, again in lower case letters, and no website. No credentials, no pitch.

If this person took a look at this particular website, he would see that Fearless Ink focuses on the business and marketing aspects of my writing. Reading the Welcome page and the Navigation Menu give an idea of what the site is about and what I do.

This blog, Ink-Dipped Advice, is clearly about how I approach business writing. There are no posted guidelines stating I am looking or accepting guest posts. If I want a guest, I’m going to go and invite one. There are no posted guidelines about payment.

At this point, this blog is not a paying market. I’m not trying to lure fellow writers to work without pay. I may do trade invites with fellow freelancers, provided we are all comfortable with the situation.

If this blog becomes a paying market, I will post guidelines and state payment. And any pitches that don’t meet said guidelines will not be accepted and paid.

That’s the way it works.

The above pitch isn’t a pitch — no research, no ideas, no background, nothing. Not someone I would invite to guest or with whom I would contract to guest.

The same individual sent the same one-line post on ALL the contact forms on ALL my sites. If you look around at the sites connected with the books I write, you know that those are sites about the books, not sites that support or invite guests. They are about MY WORK. That is their purpose and their focus — to give readers and potential readers of my books interesting content beyond and around the books themselves.

The sites also have a contact form for the press, which means if someone wants to do a story on something I write, that’s the address through which to funnel it. There’s nothing about hosting anyone.

I host fellow authors on A Biblio Paradise, but that is by invitation-only, and there is, specifically, no contact form on that blog.

No hook, no research, no understanding of what I do, no information. That equals no invitation.

It’s not even the virtual equivalent of a cold call, because professionals who cold call actually dig up information about the business before they call.

It’s insulting.

Other emails, which go directly into the Trash or Spam folders, are from people who call themselves “designers” or say they edit photos. They send short emails berating the look and content of my sites and DEMANDING that I hire them.

No specifics, mind you. Nothing about the specific site. Just a vague email full of insults and demands.

Do I believe my sites are perfect? Of course not. They are a work in progress, organisms that grow and change with my work.

But why would I pay someone who insults me?

Especially, again, when it’s obvious they haven’t done the least bit of research on what I do or what I need.

When you pitch to guest on a blog:

Read the blog. Or, if you’ve come across a website and you want to write content for them, read the site. What is the tone and the slant of the content? What are the topics? What’s the length of a post? How many links or other resources, on average, in a post?

Read the guidelines. Does the blog accept pitches for guest posts? What should the pitch include? What should the post include?

Follow the guidelines. Submission guidelines are there for a reason. They streamline the process. They are a good indicator if the person pitching/querying is a good fit. They are a good way to weed out the unprofessional, who tend to be the ones who think they’re too talented to bother with pesky guidelines. They’re not.

Craft a great pitch SPECIFIC to that market. Include a salutation, hook, one-paragraph ACTIVELY WORDED pitch. Add a few sentences with your credentials, and why you wanted to pitch to that particular site. Sign off with your name and your website.

Be positive and polite. Even if you believe you can write better than those currently writing for a site, don’t insult them. Pitch yourself as an addition to the team, not that you’re so great they should fire everyone they already have. You don’t yet know their story or their dynamics.

Proofread. When I worked for a publisher in NYC, part of my job was to screen unsolicited submissions, aka The Slush Pile. If I found something good, I wrote up a report and sent it up the editorial/acquisitions chain. However, in addition to content guidelines, the rule was that if there were more than THREE errors in the entire submission package (query letter, synopsis, sample chapters), it was rejected. That was especially true of the author obviously didn’t know the difference between a possessive, a plural, and a contraction. I still use those rules.

I know I’ve lost gigs because I sent off the pitch/query package too quickly and, only later when I filed or logged the submission, did I catch the errors. And the editors were right not to hire me. I did not demonstrate the proper care in my pitch.

Track your pitches and submissions. I have an entire Topic Workbook called Setting Up Your Submission System that tells you how. This is important. You need to know when and where you sent material.

Know when to follow-up, how to follow-up, and when to let go. Again, read the guidelines. They often give response time. Do not nag during that time. If you’re doing simultaneous submission and get a bite elsewhere, then, yes, definitely let the other markets know. But if the guidelines say four months, don’t start demanding a response in a week. In fact, because most sites are overworked and underpaid, I usually give an additional two to three weeks outside of the stated response time before follow up.

Be polite when you follow up. That should go without saying, but there you go.

Don’t argue if the answer is no. Arguing, threatening, insulting is only going to get you a reputation as unprofessional and not worth the work.

Precise, polite, professional. That’s how you craft a positive pitch and land the work. It TAKES work to LAND work.

Ink-Dipped Advice: The Morning After Networking

There’s a lot of advice out there about “how” to network and how to present yourself, push yourself, etc., as you try to grow and build your business. Read everything, try new things, find out what works for you. It’s important to create your own style of business.

As creative people, we are harmed on multiple levels if we try to fit into other people’s boxes, even if those people dangle possible payment in front of us. We will do better for ourselves and our clients if we ARE ourselves from the first moment, instead of trying to be what they think they want. Often, they don’t really know what they want, they just want fast and cheap.

As you read the advice, role-play. How would you feel if someone approached you in that tone? Would you respond positively or slap them away? There are aggressive techniques out there, especially on line, that drive me away from businesses.

That includes an interview with a potential client that I cancelled a few months ago. It was for a company, it paid decently, it claimed to offer a variety of marketing tasks. The commute would have kind of sucked in some ways, but the money and the content sounded interesting enough for the interview. Until the perky little twenty-something sent me a document detailing how to dress and how to speak.

Excuse me? I am not in my twenties and just starting out. I am in my fifties with a long and varied career behind me, which includes working in wardrobe on Broadway. I know how to dress. I know how to behave in an interview. This document was demeaning to any potential employee, and showed that this was not a good match.

Next!

Networking can be done at almost any event, whether it’s a primarily social gathering, or a conference, or a chamber gathering. What I’ve found the most effective (since I am an introvert), is going there with the attitude of wanting to meet interesting people.

That’s my agenda for any event that includes strangers: I want to meet interesting people who do interesting things.

Since I am interested in almost everything, that leaves me with many possibilities.

Preparation
What type of event is it? Casual? Formal? Do you have any idea of the type of attendees? Corporate? In one particular arena? I’ve attended environmental conferences because I was interested in the slate of topics and met people who remained a part of my life, personally and professionally.

Is it an all-day event? A cocktail hour mixer? A more formal dinner? Do you know anyone else attending? Be careful not to just stick exclusively with one or two people, especially if you arrive together. Make sure you invite people to join your group, especially fellow introverts who have the “why did I ever sign up for this?” look.

If it’s a conference, I make sure I have a conference or pad of paper for notes. I take a lot of notes at these events, type them up, put them in a binder for reference. If it’s a more casual, social event, I have a reporter’s notebook and a handful of pens in my purse.

I wear comfortable shoes. They can still be gorgeous, but I make sure I can stand and walk in them for long periods of time. I’m always amazed at how much I stand at networking events, and I have paid the price by wearing the wrong shoes

Plenty of business cards. I’m big on exchanging business cards. I have different cards for different things I do. Believe it or not, the card I end up giving away most often is for the blog on the writing life, Ink in My Coffee, which then leads people to the other things I do.

I sometimes carry a few of my brochures, or, if appropriate, a stack of postcards or bookmarks for my most recent release or my upcoming release (recent release gets more traction — people pick up the card and want it now). But I do not hand them out unless it comes out organically in conversation, or set them on tables without the host’s permission. I don’t like to feel cornered or pressured by other attendees, and I extend them the same courtesy.


At The Event

Smile and talk to people. Ask them about themselves, and what interests them. Most importantly, listen to the answers. Don’t just think about the next thing you want to say.

I land gigs because I’ve listened to something in conversation and either remembered it in follow-up or scribbled it down in my notebook in the ladies’ room to make sure I remembered it later. I do NOT take notes during the conversation; that makes it feel like an interview or an interrogation.

Include people in your group who look lost or confused. You won’t like all of them. You won’t like or get along with everyone you meet at an event. But start by inclusion, and make your decisions after the event.

The Morning After
That’s what this post is supposed to be about, isn’t it?

The day after a networking event or a conference, I go back through my notes and the business cards.

I send a written thank you note to the host of the event. If, for some reason, I don’t have a postal address, I send an email. But a handwritten thank you is better.

I send a quick email to everyone I met with whom I want to keep in touch. Most of them are just a “great to meet you, hope to talk to you again.” Where appropriate, if we talked about something specific, I might go more in-depth. If we talked about working together and I either asked for more information or promised to send some, I put in a reminder of it, and, again, where appropriate, I send additional materials. If it’s someone with whom I want to see again one-on-one, I suggest a date to get together. I do this the day after the event, if it’s on a week day, or on the next business day. I do not wait more than three business days to do this. Quick follow-up is vital.

I file the business cards. I note on the card where/when I met the person, and I file it in those clear plastic business-card pages from Staples. They’re three-hole punched, and I have a binder. If and when the connection becomes more permanent, I copy the information into my Rolodex. Yes, I use a Rolodex. Every single time I’ve counted on an electronic address book, it’s been corrupted.

I follow up on the follow-up, when appropriate. If I’ve sent requested information, I follow up about two weeks later, unless we discussed a longer lead time. If I come across something relevant to a discussion, I’ll shoot off an email to that person with the information. Sometimes, I send out quarterly reminder post-cards by mail about my services. I find that gets far more response than email blasts. I send a holiday greeting, at least that first year. Again, by mail, whenever possible. I get a far more positive response from mailed materials than from electronic, even though the bulk of my actual client work is done via email. The tangible connection tends to bring tangible results.

I am not a phone person. I loathe the telephone. I find most phone calls a waste of my time (it’s usually the other person liking the sound of his/her own voice, not sharing relevant information). I find it disruptive to my creative process, and a phone call will kill my productivity for the rest of the day. I charge for phone time in 15-minute increments like a lawyer, without exception. So I don’t do follow-up via phone. If someone says “I’ll call you,” or “call me,” my response is “email is always the best way to reach me.” I do not put my phone number on my business cards, and I have my phone set NOT to accept voicemail. That is unusual, that is somewhat controversial, but it works for me and I do it.

If the phone works for you and your contact, by all means, use it. I know I am an anomaly in my phone-loathing.

Now, over to you: what follow-up have you found most effective after a networking event? What’s your timeline to follow up?

Ink-Dipped Advice: Where’s The Work?

The short answer is, “Everywhere.”

People need words and those who craft them for almost every aspect of their lives: signs, instructions, web copy, press releases, menus, articles, advertorials, letters, the list goes on and on.

Take a day and write down every time you encounter something with words on it throughout your day. Note what it is and what kind of writing it is.

The work is everywhere.

Convincing the companies to hire you and pay you a fair rate is key.

Skills, Interests, Knowledge
First, be clear on your skills. What is it you want to do? Are you a journalist? A marketing writer? A Public relations person? An editor? A copy editor? A social media whiz? A mix?

What are your areas of specialized knowledge? Areas where you know enough so you can do some quick fact-checking, but you have reliable facts and sources at your fingertips?

What are you interested in?

I became a writer because I am interested in many things, I find the world a fascinating place. I also enjoy working with people who are passionate about what they do, and helping them engage and expand their audience.

If you want to specialize in one area, good for you. Make sure you’re passionate about it, knowledgeable about it, and keep expanding your knowledge. You want to bring your clients knowledge and resources beyond what they have. You are there to put them ahead of the pack, not run with it.

Boundaries
What are your boundaries? Plenty of people say their clients’ politics/beliefs/platform doesn’t matter and has nothing to do with the writing or the quality of the work. I don’t find it that black and white. I’ve worked for some people whose views on many things are vastly different than mine, and it wasn’t a problem. We agreed to disagree on certain things, and none of it was directly involved with the actual work. However, I don’t take on clients whose product/view/mission is something I believe causes harm to others. I don’t care how much they’re paying. I’m not there to change their views (or sabotage them) and I’m certainly not going to promote something I believe is harmful for money. That is my choice.

I’ve also taken on clients and then found, once I’m in deep working with them, things in their business or ethics that I find repulsive. I wind up the contract when possible and don’t work with them again.

Find your line. Know where it is. Know it may change over time. But be aware of it, and have a strong core.

Again, where’s the work?

I like to start local and spread. I used to live in New York. There’s a big client pool there, and plenty of businesses that understand the value of good writing. Some of them will still try not to pay for it, but the pool’s big enough so you can skip those jobs and move on.

I live in a different region right now that does not respect good writing or believe in paying for it. I have fewer local clients, and more long-distance ones.

Find companies whose work interests you
The most interesting, professional, satisfying, and best-paid jobs I’ve landed have come because I found a company whose work interested me, did my research, and put together a pitch to convince them their lives would be better, easier, more productive, and more lucrative once they hired me. I did NOT denigrate the materials that were out there. I told them why they interested me, and what positive things I could bring to the table.

I had to go out and find these companies. I did not find them on job boards or craigslist. I found them either during my research for one of the many projects (fiction or nonfiction) that I juggle, or during my active “hunting time” where I search for companies that do work which interests me, and then research them.

When I research companies, I start locally and then expand outwards. I look at Chamber listings. I research companies that provide services in fields that interest me. I keep on top of press releases sent out by members of the team already working for them. I’m not looking to oust someone from a job; I’m looking at supporting, honing, and expanding what they do.

When I pitch, I do a positive pitch, not a negative pitch. I point out what interests me about the company, what I think they do well, and why I think I’d be a good ADDITION TO THE TEAM. I do NOT tell them their content is bad, the site needs a new design, or demean their employees.

I get several emails a week from people demanding I hire them (they haven’t done their research) and that I should so do because they hate my website, my content, my work. Why would I hire someone who insults me?

I wouldn’t, nor would I expect a company to hire me if I insulted them.

Chamber of Commerce Networking
I’ve landed some gigs from local Chamber of Commerce networking. I’ve lived and worked all over the country, and most of the time, the fee for joining the Chamber is offset with the first job I land from one of their contacts. Chamber members support each other (that’s the point of being a member), and turn to each other first when they’re looking for something. Plus, Chamber members understand the value of words in their business.

I haven’t found that to be true where I live now, sadly. I’ve enjoyed my networking at local Chamber events, but the “we don’t pay for writing” attitude unfortunately extends to Chamber members as well. In fact, where I live right now, more and more companies put out ads calling for a “marketing associate” when what they want is a sales rep to work on commission-only. Those are two different positions, requiring different skills, and I don’t work on commission. I get paid for the work I DO, not on a whim that someone else may or may not pay somewhere down the line.

So I don’t work for them.

But Chambers often have open nights to expand membership. It’s worth it to check out yours, meet people (make sure you have plenty of business cards), and then, even more important, follow up a day or two after the event. We’ll talk more about successful networking in an upcoming post.

Twitter
Some of my highest-paid gigs have come from Twitter. Not because all I do is tweet demanding that someone hire me or buy my books. Yes, I do book promotions on Twitter, but that’s not al I do. I engage. I retweet, I reply, I have conversations, I support fellow artists.

Sometimes, I see a positing on Twitter for a gig that sounds interesting. I follow the link, do my research, and pitch. Most of the time, though, gigs I’ve landed from Twitter are from people who liked what I had to say on Twitter, followed my information back to my website, liked how I write, and want me to write for them.

Networking in Professional Associations/Association Job Boards
I belong to several professional associations. Some of them have job boards; some of them put out calls when they need writers. If something looks interesting, I do further research and make my decisions from there. Job boards on these sites tend to have payment and work standards, and don’t accept content mill-type ads.

Writers Market
I prefer the print edition. When the new one comes out, I sit down and read it, cover to cover, making notes on where to pitch. I research the markets that interest me online. If a market still looks good, I put together a pitch or a query (depending on what they want) and contact them. I log everything, so I can follow up or move on.

Media Bistro
They have jobs broken down by region, by type, or by part-time/full-time/freelance/remote. The jobs tend to pay market rates and be legitimate. They also offer classes and networking opportunities.

Companies that offer full-time positions with benefits
If you are looking for a full-time, steady marketing job with benefits in a company, then I would suggest going through the listings on places like Indeed, ZipRecruiter, GlassDoor. Be careful. On Indeed, especially, more and more content mill-type jobs are popping up. Do your research. Most of the jobs on these sites will require you to fill out an online application form and go through an HR department. The online applications are usually geared to more retail or desk drone jobs, not something for creative people. In my opinion, any job application that demands you re-type the job information already included in your resume isn’t worth your time.

Do your research on Salary.com and by talking to other professionals in your field. Don’t expect professionals to talk money on social media — that is a private discussion, unless it’s in a group or seminar about salaries. Many applications ask for the salary for which you’re looking. I hate that question. I prefer salary range questions. I do my research, both on what the range is for the job in my area, and what the range is that they’ve paid previous employees. Far too many companies cut loose good employees when they don’t want to pay them a fair rate, and start again at the bottom or the range or below it. Don’t fall for that.

Referrals
This is my favorite way to land work. I have a great experience with a client. The client recommends me to a colleague who needs a good writer. You build up to referrals by doing good work for legitimate companies at market rate. If you get a reputation as content mill level quality and price, that’s where you stay. Court the good jobs; do terrific work for them, and they will recommend you to others who appreciate your talent and pay fairly for them.

The work is everywhere. It TAKES work to LAND work. How you shape your approach and how you convince the company that YOU are the best person for the job, and have a say in how that job is shaped is what sets you apart and makes you worth hiring in the first place.

Ink-Dipped Advice: An Ad That Attracts

Last week, I talked about ads looking for writers that guarantee I won’t pitch. This week, I’ll talk about common-sense elements to include in your ad, especially if you’re a small business.

Your business. It amazes me how many ads don’t detail the focus of the business. A bit of background on where you were, where you are, where you want to go, helps. Just a sentence or two. I’m too old for that kind of mystery. I want to know what you do. “Fast -paced office” isn’t enough. I want to know if you’re a realtor, a construction business, a landscaper, a dentist — tell me what you do.

Job description. Detail the responsibilities and expectations. Think about what you want. Then do some research on job scopes to see what is realistic. If you want to hire a writer to create advertising, marketing, and promotional materials, you want to hire a writer, not someone who answers the phone and jots down a few things in between calls. If you want something with visuals, bring in a team of writer and graphic designer. Few graphic designers write well. While more and more writers are adding graphic and web skills, that design eye of a graphic artist will take the material to the next level. It may be that what you want and need requires more than one individual. Be clear about perks and benefits included. If none are, state that. You have to know what you want and need, and balance it with realistic skill expectations.

Hours expected per week and work location. Be specific on the hours or hour range you expect every week. Do you expect your writer to work in the office? If you do, make sure you have a place for them to work. Perched on a chair with a laptop across the knees in the garage is not an acceptable work space. Lighting is important. Make sure you have good light for the tasks required. (That doesn’t need to be in the ad, but it’s something to consider when setting up work space). What kind of breaks do you offer? How much time for a meal break? Is the meal break paid or unpaid? Check with your state’s Department of Labor to make sure you follow their guidelines. Is the job remote? Is the job onsite? Are you willing to do a mix of on site and remote? Are there hours outside of normal business hours, and, if so, what are they? What is your policy on holidays?

Your target market. Who is your market? Who is the market you want to reach? What kind of gap is there between them? You’ll expand on this discussion in the interview process.

Length of job. Are you looking for someone to join the staff, or contract for a particular project? Be clear. Don’t dangle “this could lead to more work.” Most skilled writers will roll their eyes and move on. Maybe-somedays don’t cut it. If you wind up being a good match on this project, then suggest working together in a longer-term capacity.

Pay. Is it fixed or is there a range? If you list “negotiable,” listing the range is even more important. If you do the latter, be willing to negotiate. That means, when the prospect comes back with a counteroffer, you give it serious thought and return with another offer. A real one, not re-iterating the original price. If you’re not willing to negotiate, state the rate. Don’t hope a candidate will offer you a lower one. Again, do your research. Look at the salary ranges for the position and don’t assume you can lowball and get quality. Salary.com is a great resource for individuals on both sides of the hiring table.

Contact Information. Email address or mailing address to which materials can be sent. Contact person. If you do not want phone calls, state it in the ad. Candidates who don’t respect your preferred contact method can be tossed.

The above information should be in clean, error-free copy with a tone that matches the tone of the work environment. Is the workplace Formal? Flexible? Don’t call it a “creative” environment when what you mean is “disorganized.” There’s a difference. Read the ad. Would you want to work for this particular business, in this particular environment, if it wasn’t yours? Let an interesting, vivacious ad reflect your business.

Material to Ask From Candidates:
Cover Letter. A cover letter should address the job, why the candidate is interested, relevant experience, and express some of the candidate’s personality. It should also demonstrate grammar, spelling, and writing skill, and be free of typos.

Resume. This gives you an idea of the person’s experience. If the experience is vastly different from the job, go back to the cover letter to see why the candidate wants a change, and see if the reason resonates. The out-of-the-box choice could be the right one. If the candidate doesn’t mention the disparity between resume and reason for pitching for this job, it’s a red flag for you.

Website link. Most professionals have their own website. Many have samples on the site or links to samples. Ask for the link and take a look around.

Samples from portfolio or clip file. Decide if you want links, attachments, and in the format you want them. Do you want .doc? .docx? PDF? Do not expect a candidate to write a sample specific to your company unless you pay for the test. You should be able to read one or two samples and get a sense of the candidate’s style, and see if that works with what you do.

Contact information. Most candidates will have it on their resumes and/or cover letter. It doesn’t hurt to ask. Also, let them know how you plan to contact them to set up an interview.

Where do you post?

Chamber of Commerce. Most chambers allow job postings. You’ll get to support other chamber members and, since it’s a community of businesses and those who want to work for them, a high quality of business-savvy responses.

Your Own Website. You’ll often get a high quality of candidate, because the candidates made the effort to find and research you. They can also look through your site, to see if it’s the right fit. Make sure you put the link to the job on social media.

Media Bistro. A good place to find professionals from all over the country. You’ll get great candidates. They will also expect solid rates well within the range for the position.

Hire Culture. If you’re in Massachusetts, or willing to work remotely with a MA-based writer, Hire Culture is a site that pairs arts-based professionals with business. Arts-related businesses and non-profits in particular can find solid candidates here.

Career Centers. In Massachusetts, the Department of Labor partners with “Career Centers.” Job candidates use these for unemployment filing, resume writing workshops, and career retraining. These sites offer job boards. It’s a good place to find both early-career and mature workers with experience who are looking for a new job because their position was eliminated, or because they want a career change. Check with your state’s Department of Labor for the equivalent.

Indeed and ZipRecruiter are popular, often used by larger companies. It’s a way to get the ad out to a large pool; but you’ll also receive a large pool of unqualified applicants.

What about Craigslist? Many small, local businesses post on Craigslist. It’s hit or miss. I glance through Craigslist here and there if I need a quick fill-in project. It’s rare the ads interest me or the pay meets my range. Every now and again, there’s something that makes me take a second look, but I don’t count on it. Small business owners I know who post on Craigslist complain to me about the low quality candidates who respond. I don’t recommend posting on Craigslist if you want a seasoned, professional writer. As an FYI, the above-mentioned Career Centers in my area warn job seekers they are not allowed to list Craigslist ads in their weekly job search logs that are submitted for unemployment benefits.

As a writer, I am far more likely to pitch to a business who provides the above and asks for the above. If I’m sent to a link that has a form to fill out, unless the job pays well above my normal rate, I usually don’t apply. You’re hiring a person, not an algorithm. Algorithms don’t find creative thinkers. They find people who’ve learned the game of filling in boxes the way the computer wants (which has little to do with the person’s actual skills, other than being able to outwit an algorithm), or whose lives fit into boxes. At a certain point, professional, creative people decide to ditch the boxes and those who use them, because they’ve earned their way beyond the forms. Most forms have little to do with the actual job. You get more from reading a well-written resume. I’d rather create my own pitch packages, relevant to an individual company. I also expect to be treated like an individual. Please don’t expect me to re-key my resume into your form, especially if I’ve attached said resume. That’s insulting.

Next week, I’ll focus more on writers, and where I’ve found the best (for me) jobs.

Ink-Dipped Advice: Find the Right Writer, Don’t Drive That Writer Away! (Part One)

 

While this post is aimed primarily at businesses who want to hire a writer, I’m sure many of my fellow writers will relate to the material.

Notice that I didn’t title this post “Finding the BEST Writer.” Because “best” has permutations.

A technically brilliant writer can be the less-than-best choice if said writer can’t empathize and then communicate a proprietor’s passion for his/her business, or if the writer doesn’t understand (or isn’t interested) in the business and how to communicate it to the audience. The technique might be there, but if the copy is bloodless, it won’t engage and enlarge the audience.

A passionate writer who is delighted by the business can be the less-than-best-choice if said writer doesn’t have the technical capacity and the craft to sculpt the words into creative, engaging copy.

The “best” writer for any particular project has craft skills, understanding of the business, understanding of the target audience, and knows how to merge those different facets into something unique and wonderful that enchants an audience.

How is this mysterious creature, as elusive as a Unicorn, discovered and enticed? Is there a business/writer matchmaking service?

There are plenty of services who will claim to do just that — weed out the chaff, find you the best writer wheat. Regard their claims with a grain of salt. Don’t just ask for a client list and read those clients” websites. Ask the service which materials their personnel created for those clients, confirm with the client, and ask for samples.

I’ve been on both sides of working with agencies. When I started in theatre, I worked for temp agencies all over the country in various administrative capacities, and I learned how to write copy for a variety of different fields. I’ve also signed with so-called “creative” agencies who claim to pair marketing/business writers with clients. Nine times out of ten, the agency paid no attention to my strengths, my knowledge base, my skills. I was sent to a client because there was an open slot, not because I was the best person on their roster for the slot. I work with words, not numbers. I am not a bookkeeper. I am a writer. When I worked in major cities, I was at least sent out for writing, editing, development, or administrative work. Outside of major cities — far too often, I was told I was being sent to an accounting department. When I reminded the hiring manager that’s not what I do, the answer was “Oh, I’m sure you’ll pick it up.” That is not fair to me or to the client. Match the person to the job.

On the other side of the equation, I’ve been hired by companies after they’ve wound up with a mess because an agency sent in someone who was unqualified for the job. A writer may have shown up, but it wasn’t the right writer for the job. Or the person sent wasn’t a writer, but an administrator or a file clerk or a receptionist or a bookkeeper. Don’t send a writer to do a bookkeeper’s job and don’t send a bookkeeper to a job for press releases and thank you letters written for donations. Pretty basic, but far too many agencies ignore this.

A staffing agency that sends in a writer to work with a company is different than hiring a marketing firm to handle your advertising, marketing, and promotional needs. Those firms usually have (or hire in on contract) a team for each part of the marketing operation. I’ll discuss marketing firms in a future post.

Granted, I am atypical of many marketing and business writers in that I translate audience engagement techniques I use in fiction and scriptwriting to communicate a business’s message and grow their audience. Even though I am a multi-genre, Renaissance writer instead of a niche writer, I’m still a writer. Words are my medium. My approach is not a standard, corporate box style. I approach each client as though they are exciting and fascinating, and I craft marketing campaigns unique to each of them. The plans may share elements, but content and approach is individual.

I read quite a few ads, to have an idea of what’s out there, although I don’t respond to that many any more (details on that in an upcoming post).

How To Turn Off Skilled, Qualified Candidates
What makes me skip over an ad? Besides content-mill scale of work and pay?

“Must be able to multi-task in a fast-paced environment. Job duties include answering the phone, scheduling clients, correspondence, filing, Quickbooks, Photoshop, updating website, blog, social media, Instagram, and writing press releases and marketing materials.”

Of course, the above job pays minimum wage with no benefits. So, I’m supposed to be a photography whiz, a tech whiz, a bookkeeper (see above), a file clerk, general admin, a receptionist, AND carry the marketing and social media load? For minimum wage?

Uh, no.

You want well-written material that actually grows your business? Your writer can’t be interrupted by phone calls every thirty seconds How many blog posts a week do you expect? Is your new hire researching and writing them, ghost-writing them, or fine-tuning ones written by others? Good writing needs uninterrupted work time. Also, you’re not going to get said well-written materials for minimum wage.

Next.

“Must be flexible, energetic, able to move between a variety of marketing tasks. Must have iPhone and laptop with Adobe Creative Suite. Must have own reliable transportation, not reliant on public services.”

This job is a couple of bucks an hour above minimum wage, again, with no benefits. The “flexible” translates to “hours outside of normal business hours.” For someone at the beginning of the career, interested in the company, maybe.

“Moving between variety of tasks” — no problem. Can make things more interesting, although the subtext is that there’s grunt work involved. Hauling boxes, setting up chairs for events, etc.

“Must have iPhone and laptop with Adobe Creative Suite.” Deal breaker #1. An employer does not tell me what equipment I need to own in order to be considered for the job. If special equipment is required for the job, the employer provides it. Period. I am not going to be tied to a type of phone or pay the monthly Adobe fee for the employer. Especially when those items end up costing more than I’d earn.

“Oh, but everyone has an iPhone.”

No. Everyone does not have an iPhone. And a personal phone is different than a business phone.

“Maybe they pay the monthly Adobe fee and you just have to use it on your laptop. They’ll give you the log-in.”

Then state it in the ad.

The exception to the above is if there’s a payment that in theatre and film we used to call a “kit fee.” If we brought in our own kits, our own equipment, we were paid a daily rate on top of our regular pay. Somehow, I don’t think the above employer has ever heard of a kit fee or would pay it.

“Must have own reliable transportation, not reliant on public.” Deal breaker #2. First of all, the subtext is that I have to show up for work in a blizzard or a hurricane. Second, unless you provide me with a company car for “reliable transportation,” you don’t tell me how to get to work, or tell me I can’t use public transportation.

Next.

“Please write a sample piece of 800 words including these topics (lists topics) so we can make sure you understand our business.”

One of the oldest scams in the book, along with the three-card Monte. This is a way a “business” rakes in articles provided as “samples,” tells the candidates the business went in a different direction, and then has months’ worth of content without paying for it.

Next.

“Our client is looking for . . .”

Means there’s a middleman doing the screening and hiring. The client is overpaying, and I’ll be underpaid.

Next. Some writers are okay with this; I’d rather not.

“Fast-paced, flexible environment, dealing with a large variety of personalities.”

Translation: An office full of neurotic, nasty assholes.

Next.

“But if it’s the right writer, it wouldn’t matter anyway. The ‘right’ writer will forgive anything and accept what’s offered.”

No. The desperate writer will forgive anything and accept what’s offered. The fresh, new writer trying to build a portfolio may put up with anything that’s offered for a short period of time. Sometimes, everyone will luck out and it’s the best fit. But the truly talented writers will stay away from the above.

So what should an ad include?

That’s our topic next Wednesday! Stay tuned.

Hello and WTH?

Another Freelance Writing Blog? You’ve GOT to be Kidding Me!

Is there a need for yet another blog full of freelance writing advice? When there are blogs like Lori Widmer’s Words on the Page, Jenn Mattern’s Kiss My Biz, and Tara Lynne Groth’s Write Naked!, Angela Hoy’s Writers Weekly, Cathy Miller’s Simply Stated Business, Sharon Hurley Hall, and Peter Bowerman’s Well-Fed Writer? I could easily list another dozen terrific sites.

So, the short answer is “Hell, no!”

But I’m doing it anyway.

Hey, look, if you enjoy watching the way the creative sausages are made, hop on over to my five-days-a-week blog, Ink in My Coffee. You can follow my fiction, plays, radio work, screenplays, etc. from concept through publication or production. You can follow the way the writing affects my life, and the life affects my writing and how I try (and sometimes fail) to keep them in balance. You can follow the way I don’t believe any of us can be apolitical at this juncture in our history.

So what the heck is going on here?

Something a little different.

Ink-Dipped Advice is geared to both clients who want to hire a writer (even if the client decides not to hire me) and to writers who want to find clients, but don’t want to get trapped in many of the freelance prisons we build for ourselves.

Why am I doing this?

Because, as much as I adore the above-listed bloggers, respect what they’ve achieved, go to them for advice – I do things differently.

My background is not traditional business – I spent the bulk of my life in theatre. That has strengthened my marketing writing and opened out my abilities in a huge way. I have an international, ever-growing client base, and can and do a wide range writing on an even wider range of topics. Browse the rest of the website and you’ll see.

When you seek out writing advice, you will hear that you HAVE to have a niche. That you won’t earn any money, or worse, only have the option to be a content mill writer if you don’t niche.

For me, that is complete and utter B.S.

Hey, if there’s a single topic you love and want to focus on, if you WANT to niche – go for it. Write your passions. Your writing will be better for it, provided you put in the work to develop your craft.

But I am the Anti-Niche, or, as I prefer to call it a Renaissance Writer. And it works for me.

I became a writer because I find the world an interesting, fascinating place. I don’t want to lead a single life. I want to lead many lives. Writing allows me to follow anything that interests me, learn about it, become it, and earn my living at it.

Saying “no” to poorly paid work was a hard lesson, but the best lesson I’ve ever learned. Do I negotiate? To a point. But I go into my meetings knowing my negotiation range. If it’s below my rate, I don’t do it. The potential client goes on to find someone who will work for that rate, and I find a client who pays me my rate. We’re both happy. We both find the matches that work best for us.

I take on clients whose passions, work, interests, and missions intrigue and engage me. Then, I expand on their message, I help them refine it, expand it, and communicate it in a way that engages and enlarges their audience. Which allows them to make more money.

This isn’t THE WAY to do things. It’s ONE way. The way that works for me.

Here, I will share what I’ve tried, and how it’s worked, or not worked. I’m not telling tales out of school on my clients. A great deal of my work, especially the ghostwritten work, is confidential. I have no intention of breaking my word to my clients.

But it might be interesting, for individuals on both sides of the table, to see different ways of working. To see the creative process. Some clients don’t care about the writer’s creative process. Some writers don’t care what the clients are going through unless it affects their piece directly. But maybe if each side of the table understood the other a bit more closely, it would be easier to find the right match, and to work with good people whose process is very different.

Something just might work for you.

Or it might reinforce what doesn’t work for you, and remind you that you’re happier in the choices you’ve made.

But they’re YOUR choices, and that matters.

For the moment, Wednesday is my designated day for this blog. Join me on the adventure!