Your Business Bookshelf

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I am a bibliophile. Some would say a bibliomaniac. I buy books. I read books. I keep books. I use books to build the forts I need to deal with the world.

As a writer and freelancer, I love to read how others build their business, hone their craft, grow their creativity.  Below are some of my favorite books,  ones I read and re-read, by title and author:

THE ART OF WORKING REMOTELY by Scott Dawson. Scott hosts the Remote Chat on Wednesdays at 1 PM EST on Twitter. It’s a highlight of my week, and one of my favorite groups of people. Scott’s book is a great guide on how to build a successful work life with remote work, and avoid the pitfalls and obstacles that employers throw in your path.

A BOOK OF ONE’S OWN: People and Their Diaries by Thomas Mallon.  I re-read my 1986 paperback of this book so often that it’s falling apart. I love this book. It has musings on and excerpts from a wide range of diarists. I learn so much about seeing, feeling, and articulating each time I re-read it.

BOOKLIFE: Strategies and Survival Tips for the 21st-Century Writer By Jeff Vandermeer. This is helpful for delineating the public and private lives. I am an inherently private person, an introvert forced by the needs of business, into extrovertism far too often for my liking. This book has some good ideas on handling that frisson.

THE COMPANY OF WRITERS by Hilma Wolitzer. Another wonderful book on the writing process and navigating the times you want and need to emerge from solitude. I am a huge fan of Hilma’s novels and those by her daughter, Meg.

THE COMPLETE WORKS OF SHAKESPEARE by William Shakespeare. I learn more about art and craft and stagecraft and structure and style from Shakespeare than I do anywhere else. I read and re-read his work constantly.

THE CREATIVE HABIT by Twyla Tharp. Far too many books are about breaking blocks into finding one’s creativity. This book is for already creative people to take their creativity to the next level, in any discipline.

CUT TO THE CHASE: Writing Feature Films with the Pros. Edited by Linda Venis. From UCLA Extension Writers’ program. Excellent book on screenwriting art & business.

ESCAPING INTO THE OPEN by Elizabeth Berg. The writing advice is great, and her blueberry coffee cake recipe is THE BEST.

THE FOREST FOR THE TREES: An Editor’s Advice to Writers by Betsy Lerner. Editor, agent, writer, Betsy Lerner talks about creating a writing career and how to work with editors and understand marketplace.

HOW TO WRITE A BOOK PROPOSAL by Michael Larsen. Still the best book I’ve ever read to teach effective proposal writing. I’ve used this for fiction, nonfiction, and adapted it for grants and multi-media or multi-discipline projects.

INSIDE THE ROOM: Writing Television with the Pros. Edited by Linda Venis. Another excellent UCLA extension book on art, craft, and business.

LIFE, PAINT AND PASSION by Michele Cassou and Stuart Cubley. Although the focus of the book is painting, I find that painting (or sewing or dancing or singing) frees up the writing. Switching disciplines helps fuel your primary discipline.

MAKING A LITERARY LIFE by Carolyn See. She has terrific ideas for maintaining your creative, often solitary work life, while still meeting the needs of the business side.

MY STAGGERFORD JOURNAL by Jon Hassler. The journal of a year-long sabbatical to write a novel.

THE RIGHT TO WRITE by Julia Cameron. I’ve found this small book the most useful of all her creativity and artistic coaching works.

THUNDER AND LIGHTNING by Natalie Goldberg. My favorite of her books, this mixes practicality with exercises to open creativity and work past stuck.

THE WELL-FED WRITER by Peter Bowerman. This book helped give me the courage to make the freelance leap. There are many things I do differently than Peter does, but his energy and enthusiasm inspired me. I re-read this book often to remind myself of the basics.

WORD PAINTING by Rebecca McClanahan. I’d developed my Sensory Perceptions class before I read this book, and now it’s become part of the Recommended Reading list. The exercises focus on choosing the best words for descriptive writing.

WORD WORK: Surviving and Thriving as a Writer by Bruce Holland Rogers. Again, a professional writer offers ideas on how to keep creativity flowing while dealing with necessary business aspects.

WRITE AWAY! by Elizabeth George. Although my process has evolved very differently than hers, I find re-reading this book helps me look at the way I write in a fresh way. It’s a great book when I feel tired and stale.

WRITER’S MARKET. This comes out every year. I prefer the print edition, although I double-check online to see if any information has changed. I like to sit and go through the entire large book with pen and paper, reading each entry and making notes on the markets I want to approach. Then, of course, I have to go and DO it.

Looking at the list, many of these are about art and craft more than business. Several of them deal with balancing the two. I have many more books on writing. In fact, I have an entire six foot bookcase in my office filled to bursting with them, and more packed in boxes downstairs. But these are the books I go back to re-read regularly.

In my opinion, you can’t maintain a solid career without the art and the craft. You can live on your marketing until they find out your lack of art and craft. But without it, you can’t sustain, even in this age of the “influencer” and marketspeak.

Art and craft matter. When you build a solid foundation and keep growing, you can add in the marketing skills and continue to learn the technology as it changes.

Many of these books remind you how to go back to the basics of art and craft, how to grow creatively. When you get tired and discouraged, these are great books to help you refill your creative well.

What are your favorite books for your business?

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.