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7 Telltale Signs It’s Time to Get Over Yourself and Get Support

As freelance writers and editors grow more successful, they often find themselves becoming scattered and busy with tasks that aren’t directly related to writing or editing. Christine Kane points out that clinging to off-target tasks steals time from what you’re really meant to be doing, and suggests that outsourcing or hiring help is a major step in becoming more productive and profitable.

Back when I had a lawn, I used to mow it myself. I was a tried-and-true DIY gal. I prided myself on it.

Only problem: I freakin’ couldn’t stand mowing the lawn. I dreaded it all week. Even when I was happy once it was finished, I started dreading it again the very next day!

At that time, I was beginning to uplevel my life and business. I began seeing my time differently. I realized that the simple act of writing a song like “Right Outta Nowhere” could pay me—in the long run—WAY more than the money I saved by mowing my own lawn.

In other words, I learned how to value my work. I learned how to act on that value. Was it scary? Yes. But when I finally hired someone to mow my lawn every week, I learned all about success and the value of my time. In other words, I got over myself and my fear of lack.

These days I’ve taken it to a much bigger level, and I have a team working for me.

I now teach my clients new ways of valuing their time as they expand into more success in their own lives. They always end up realizing the ROI (return-on-investment) of getting help!

Here are 7 telltale signs that it might be time for you to get some support, too:

You don’t have enough time to do the thing you’re best at.

What are you good at? What do you want to be good at? How much time do you actually spend doing that thing?

If you’re running around getting menial tasks done – and you have no time to pursue your passion, or engage in your high-pay-off, high-delight activities – then ask yourself why.

Even if you let go of one item (like cleaning your house) you’re telling the Universe the value of your time. (And you know what? The Universe always says Yes.)

You resent people who don’t struggle.

This is a big one.

If you hold resentment for people who live life with joy and ease, this could be a sign that you are waiting for rescue. That just leads to more struggle.

Only YOU are in charge of whether or not you struggle. Rescue yourself and learn what true empowerment feels like.

You’re worried about the economy.

Waiting for the economy to get better before you’ll hire someone? Why not become a part of the solution and use your money to improve the economy?

While everyone else is pulling back and firing people; you can experience what it’s like to be the change you wish to see in the world!

No one can do it as good as you.

If you just shouted “Amen Sister!” then please step away from your computer. Go to the bathroom mirror. Look into your eyes and say the following aloud:

“I have a bit of a control issue.”

The belief that no one can do it better than you serves only to keep you in the role of the martyr. Unless you are, say, a brain surgeon, then there are many people who can (and will) do it as good as you. (And I doubt that brain surgeons run around cleaning the floor after surgery!)

You’re playing not to lose.

Ask any coach or athlete about this.

When you play to not lose, all you’re doing is surviving, relying on yourself, and hoping no one notices you.
When you play to win, you take risks, you keep your mental attitude strong, you rely on the team, you look for the goal. Decide that you want to play to win.

You’ve used this phrase at least once in the past month: “By the time I show someone how to do it, I could just do it myself.”

This is the mantra of someone who refuses to succeed. It’s the mantra of the struggle-addict.

Learning how to delegate is empowering. Not just for you, but for others as well. Besides, when you show them how to do it once, they can keep doing it so you don’t have to!

You dread certain things so much that they don’t get done.

It’s okay to not enjoy aspects of your work or your life. This is the exact thing you can hire someone to do.

What items do you dread? No matter what they are, when you get them off your plate, you’ll experience more energy just knowing they’re getting done, and you don’t have to worry about them anymore!

Christine Kane is the Mentor to Women Who are Changing the World. She helps women uplevel their lives, their businesses, and their success. Her weekly LiveCreative eZine goes out to over 12,000 subscribers.

[Editor’s note: I loathe the bookkeeping and accounting parts of having a business, but kept doing it for a long time because I felt I couldn’t afford to outsource it. When I finally did, my productivity shot up, and I began finishing projects that had been lingering for months or even years, which raised my income more than enough to cover the cost of the outside help. Christine’s right– outsourcing is a step up in your career, and you probably need to start doing it.]

Guilt-Free Vacations

Thursday, November 1 Comment

I just got back from a much-needed vacation in the Caribbean. It was the first time in a long time that I barely touched my laptop while out of the office — but that was more a matter of fortunate timing than anything, avoiding the weeks in the month where I have regularly scheduled projects due. Beyond a quick edit to a web page and answering a few emails, the rest of my time was available for snorkeling, catching rays, eating fresh seafood, and reading books with my toes in the sand.

I’ve been freelancing for more than 26 years, and I’ve always had my laptop with me when traveling — going back to the days of dialing into AOL on a phone line. I know people will make you feel guilty that it’s not “really” a vacation if you do work, or that it’s somehow stressful or less relaxing. For me, that’s never been the case.

While I did not bring work with me in my days as an employee, as a business owner I must take care of my clients. And, since my wife and I like to travel, it would actually be *more* stressful for me to not be available to my clients. Giving myself permission to do a little bit of work opens up opportunities, and I refuse to feel guilty about that.

That said, I have some ground rules for myself:

As was the case for this vacation, I hustled extra hard in the preceding two weeks before this vacation to get as much done as possible. I don’t want to have anything weighing on me just because I was lazy or procrastinating. This is especially true since I’m faster working on my desktop at home than I am on the laptop.
Once we’re on location, I keep my wife informed about my plans, so she knows what to expect and can do something solo if necessary. When I’m going to work on something for two hours, there’s no reason for her to hang around the hotel room or coffee shop waiting for me.
I limit the amount of work in a given day, and try to schedule it early in the day so that my mind is free during the remainder of the day for fun and adventure.

Do you have your laptop in tow when you’re on vacation, or do you prefer to be fully unplugged? What’s your reasoning for one method or the other?

Jake Poinier made the leap into freelance writing and editing in 1999 after a decade of positions in the publishing industry, giving him key insights from both sides of the desk. As the founder and owner of Boomvang Creative Group, he has worked with a diverse array of Fortune 500 and small businesses, consumer and trade magazines, and independent authors. Jake is committed to helping freelancers improve their businesses and shares his knowledge and experiences frequently as a speaker at industry conferences, through webinars, and on his blog.

One Question: The 5 W’s or an H of Short-Story Writing

Thursday, November Post a comment

As a writer and editor of short fiction, I often see new short-story writers trying to do too much in too little space. While longer fiction forms, such as novels, provide numerous opportunities for exploring subjects from multiple angles, the short story is best served by a narrower focus. That’s not to say that a short story writer can’t incorporate multiple storytelling elements, like plot, character, setting, dialogue, etc. Of course, they can! Rather, one should utilize them to spotlight one of the “WH-questions,” (i.e., who, what, when, where, why, and how), setting that interrogative at their story’s heart.

Many of you may be familiar with WH-questions from learning journalism basics in school. These queries provide the skeleton for articles, features, profile pieces, etc. They are as follows:

Who: Who’s the story about?
What: What’s happening in the story?
When: When is the story taking place?
Where: Where does the story take place?
Why: Why is it important that readers know this story?
How: How did the events come to pass?

While the news typically requires answers for all six questions, the short story provides more leeway. Indeed, some of the most effective short stories find authors selecting one (or possibly two) queries to focus on when crafting narratives. By narrowing to these one to two primary questions and layering on elements, motifs, and styles as means of providing answers, authors maximize the effectiveness of their short-story writing.

Consider the stories featuring Arthur Conan Doyle’s world-famous detective, Sherlock Holmes. Narrated by the investigator’s confidante, John Watson, the Holmes stories focus on the question of “How?” Through Watson, Doyle reveals not only how the crime of the story was committed, but also how Holmes is able to deduce the perpetrator(s) of said crime. Every element builds toward these revelations. Doyle, via Watson, provides readers with some clues—enough that one might come close to guessing a solution. However, it’s through Holmes’s hyper-observational, logical mind that we learn the full solution in triumphant fashion at story’s end.

“How?” as the central question of mystery is perhaps the clearest example of using WH-questions in short stories. But other genres also lend themselves to one or two questions. Horror stories often focus on “What?” as in: What is the threat/monster/evil plaguing the protagonist? Literary fiction, which tends to focus on character over plot, is rife with tales focused on “Who?”

Note: while short-story writers can (and should) ask these primary questions in their stories, they are not obligated to answer them. Flannery O’Connor’s chilling tale “A Good Man is Hard to Find,” explores the “Why?” behind the title. Through the dialogue of the grandmother and the murderous Misfit, O’Connor explores this question of why society is changing, why the world no longer conforms to the expectations of older generations, etc. But the bleak ending doesn’t provide definitive answers.

Think about the story you want to write. What question is at its heart? Are you using the elements of fiction to spotlight it? Are you attempting to answer or at least present the question in such a way that leaves readers with that query on their mind? Doing so is a great way to refine your story, making it the best that it can be.

Patrick Barb
The Short Story Expert

Patrick Barb is an author of weird, dark, and spooky stories, hailing from the southern United States and currently living (and trying not to freeze to death) with his wife, two kids, and a naughty (but lovable) puppy in Saint Paul, Minnesota. As a writer, his short fiction appears in Best Horror of the Year Vol. 16, Nightscript, Diabolical Plots, and Cosmic Horror Monthly, among other publications. His longer works include the novellas Gargantuana’s Ghost, Turn, and The Nut House, the novelettes Helicopter Parenting in the Age of Drone Warfare and “So Quiet, So White” in Split Scream Vol. 3, and his dark fiction collections The Children’s Horror and Pre-Approved for Haunting. Barb is an active member and trustee of the Horror Writers Association and a full member of the Science Fiction and Fantasy Writers Association.

How Freelancers Can Win on LinkedIn: A Practical Playbook

Monday, September Post a comment

For many freelancers, LinkedIn is an afterthought — a static resume that rarely gets updated. But used strategically, it can be a powerful engine for visibility, credibility, and clients. I know because I’ve seen it transform freelance businesses, including my own. The trick is to stop treating LinkedIn like a job board and start treating it like a stage for your thought leadership.

I grew my LinkedIn following to over 13,000 just by following these tips.

Optimize Your Profile Before You Post

Think of your LinkedIn profile as your storefront. If it’s cluttered, vague, or half-empty, potential clients won’t stick around. Before you even think about posting content, make sure your profile communicates three things clearly:

Who you serve. Your headline should go beyond your job title and speak directly to your audience. For example, “Helping SaaS startups scale with conversion-focused copywriting” is more effective than “Freelance Writer.”
What problems you solve. Your About section is your pitch. Instead of listing your resume, explain the pain points you help clients fix and how you do it differently.
Why they should trust you. Showcase credibility — whether it’s results you’ve achieved, companies you’ve worked with, or testimonials. Social proof builds confidence quickly.

A polished profile doesn’t just look good — it sets the stage so that every connection request, post, or message has a stronger impact.

Content Is the Engine of Visibility

Once your profile is optimized, the next step is content. Too many freelancers lurk on LinkedIn without ever posting. The reality is that content is how you stay top-of-mind with your network. And it doesn’t have to be complicated.

Posts vs. articles. Posts get more reach, but articles showcase depth. Use posts for quick insights, stories, or tips; use articles when you want to establish deeper authority on a topic.
Consistency over volume. It’s better to publish one thoughtful post per week than five rushed ones. Consistency builds trust.
Value first. Your goal isn’t to sell in every post; it’s to help, educate, or inspire. Think: “What would my ideal client find useful today?”
Calls to action. Don’t just share insights: invite engagement. Ask for opinions, encourage comments, or suggest next steps (“DM me if you’d like the template I use”).

Hashtags help your content get discovered, but they should be specific (#FreelanceLife vs. #Marketing). And when you share others’ content, add your own take — don’t just hit repost.

Build Connections Strategically

LinkedIn isn’t about how many people you connect with—it’s about the quality of those connections. A bloated network of random professionals won’t grow your business. A curated network of potential clients, collaborators, and industry peers will.

When sending connection requests:

Keep it personal. A short note (“I enjoyed your podcast episode on remote work—would love to connect”) makes a big difference.
Skip the pitch. A connection request isn’t the place to sell. That comes later, if at all.
Focus on overlap. Look for people in your niche, in industries you want to serve, or who share professional interests.

After connecting, follow up thoughtfully. Comment on their posts, share relevant content, or send a quick message that adds value. Growing your network is about planting seeds, not hard-selling.

Nurture Relationships Without Being Salesy

Here’s where many freelancers go wrong: they treat LinkedIn like cold email. The second someone connects, they blast a sales pitch. That’s the fastest way to get ignored—or worse, reported.

Instead, think of LinkedIn as a long game. Your content does the heavy lifting by showing your expertise. Your comments and messages nurture the relationship. When you do reach out directly, keep it focused on helping, not selling. For example:

“I noticed your company is hiring a content manager. Do you also use freelancers? I’ve helped similar companies bridge the gap during transitions.”
“Saw your post about struggling with lead generation. I wrote an article on that recently; happy to send it over if useful.”

This way, you’re solving problems, not shoving services.

Position Yourself as the Expert

One of the most underrated aspects of LinkedIn is how much credibility you can build simply by showing up consistently with valuable insights. Over time, people start to see you as the go-to in your niche. That means when they—or someone they know—needs help, you’re the first name that comes to mind.

A few ways to strengthen this positioning:

Share client wins (anonymized if necessary). Example: “A client cut ad costs 30% last month after we restructured their campaigns.” Or “My author client is landing great reviews left and right! It’s amazing to see the finished product.”
Teach micro-lessons. Break down complex concepts into digestible tips.
Be authentic. Share stories of lessons learned, even from mistakes. They make you relatable and memorable.

The freelancers who thrive on LinkedIn aren’t always the loudest—they’re the most consistent and the most helpful.

The Bottom Line

LinkedIn isn’t about chasing vanity metrics or gaming the algorithm. It’s about showing up as the professional your clients want to hire. Optimize your profile so people know exactly what you do. Post valuable content so you stay visible. Build connections thoughtfully and nurture them over time.

If you do these three things consistently, LinkedIn stops being “just another platform” and becomes your most powerful client acquisition tool.

For freelancers, the equation is simple: visibility plus credibility equals opportunity. LinkedIn gives you both. The only question is—are you ready to use it?

Laura Pennington Briggs
The Business of Writing Expert

Laura Pennington Briggs is the founder and CEO of the Freelance Coach. A two-time TEDx speaker on how freelancing is changing the economy and the host of the weekly Advanced Freelancing podcast, Laura has helped over 15,000 freelancers start and scale their businesses. She’s an expert on systems, project and client management, marketing a solopreneur business, delegating to team members, retainers, and developing multiple income streams for writers of all stripes. Laura is the author of five books, including the Six Figure Freelancer, How to Start Your Own Freelance Writing Business, and award-winning Remote Work for Military Spouses. She’s also the founder of Operation Freelance, a national nonprofit providing free entrepreneurship training to military spouses worldwide.

Why You Need Beta Readers and How to Find Them

Wednesday, August 1 Comment

Beta readers, those early readers who stand in for our future audience, can be a valuable tool to employ before finalizing a manuscript for submission or publication. Note that the version of the manuscript you proudly (and maybe anxiously) hand over to them should be the final version or close to it. After all, you don’t want their comments to focus on spelling errors, a glaring plot hole that you promised yourself you’d eventually fix, or anything else that could be taken care of during a normal round of editing or revisions. The point here is to receive early reader feedback, which may include comments on characters they did and didn’t like, areas that felt rushed, and sections that confused them. These comments can then be used to further strengthen your manuscript, and for some, it may even be a suitable replacement for pricier pre-publishing services.

But who qualifies as a beta reader — the friendly neighbor down the street you trade recipes with, your aunt who belongs to all the area book clubs, a hired professional? The answer is that it depends, though some may be better suited to the task than others. For instance, there are industry pros who offer beta reading services for a fee, and this feedback is likely to be in-depth, actionable, and genre specific. However, if you’re interested in having more than two or three beta readers, this cost could add up quickly or may not be financially feasible. Let’s look at some of the other beta reader options:

As mentioned above, service professionals: many editors and other publishing professionals offer beta services, though you can find others at sites like Fiverr and Reedsy.
Another author/writer: others may be willing to either read as a favor/out of friendship or in trade (you beta read their manuscript and they’ll beta read yours); it’s common to find groups that perform these services for one another on a regular basis and who make ongoing commitments to one another to perform this task whenever they’re able to.
Members in online writing/reading communities: join and participate in groups, both online and offline. Some places to look include Goodreads, appropriate subreddits on Reddit, Facebook groups (which overlaps with the option listed below), and any in-person reading/writing groups you may belong to.
Social media platforms: begin by identifying and interacting with accounts that belong to readers who fit within your target audience (this will be helpful for later when you choose to message some of these users as they’re more likely to respond to a message from a recognizable name). Some of these users may indicate they enjoy beta reading (or they may even volunteer if they know you’re in search of an early reader), but it also doesn’t hurt to send a message and politely ask if they’d be interested in performing this service for you. If you have an account that routinely receives a decent amount of engagement, you can make a post announcing that you’re in search of beta readers.

No matter who you choose, ensure that these readers belong to your book’s audience! Someone unfamiliar with reader expectations for a genre, or who may not even enjoy it, isn’t likely to give feedback representative of what you’d receive later from the book’s readers. For nonfiction, think also about the reader’s assumed level of understanding/background knowledge and whether your beta reader has a similar level of expertise. If not, the chosen beta reader may be confused while reading Advanced Care and Upkeep for Your Prize-Winning Finches when a reader in the book’s audience would come away informed and motivated.

But how many beta readers should you have? The standard answer is between three and five; less than that and the sample size is too small to be considered a true reflection of your book’s audience, but too many and the amount of feedback can quickly become unmanageable. Using an odd number allows for easy tiebreakers. For instance, if two readers love Character A and a third person did not, you’re likely safe to assume that Character A is fine.

While it may seem daunting to offer your manuscript up for critique, remember that it’s all being done in the name of creating the strongest version of your story. Seeing the story through new eyes can often illuminate weaknesses we never knew were present, and it can shine a spotlight on elements that are truly exceptional and stick with your reader. A few carefully selected beta readers can be just the ticket to making these discoveries . . . and maybe even leave you with some newly found inspiration.

Jennia Herold D’Lima is a full-blown logophile. She joined her high school’s newspaper in ninth grade, winning statewide awards for her writing, and expanded her journalism skills by continuing to write and edit throughout her high school years and as a college freshman. While earning her BA in psychology (and minoring in cultural anthropology with a focus on precolonial Mesoamerica) and her MA in applied developmental psychology, her writing and editing naturally skewed toward all things academic. Writing for and publishing in peer-reviewed journals, editing papers for classmates, and writing parenting resource guides honed her research skills. Jennia joined multiple professor-led research groups and completed four internships throughout her academic career. After graduating with a master’s, she worked at a national nonprofit in Washington, DC, and as an assistant researcher at the University of Washington in Seattle. Jennia gradually transitioned to full-time editing. As the host of the Writing & Editing podcast, she loves connecting with others in the community. Jennia enjoys traveling, volunteering, and taking creative photos of books and book-related items in those rare moments when she is not reading or editing.

Owning Your Voice: Personal Branding in a Machine-Driven World

Wednesday, August Post a comment

Are you finding it harder to attract clients to your portfolio or website?

AI is reshaping how customers find us online. Google and Bing, the top two search engines, have both increased the presence and reach of their AI-enabled search engines. Their quest, it seems, is to encourage everyone to use an AI-powered search engine.

As more people turn to AI to find answers to their questions, they are no longer clicking on the top links in search results, which may have been the primary way you or your clients secured leads and business. Instead, they are reading the result in the AI box. Some may click through, while others may not, but the results are the same. It’s harder than ever to stand out and be seen and heard online.

How will clients find us in this new world of AI search? Now, more than ever, branding counts. Here’s why you need to develop or refine your brand in the age of AI.

Stand Out or Disappear: Why Writers and Editors Need Strong Personal Brands in the AI Age

Personal branding is more important than ever for independent writers and editors. Now that AI can churn out articles on almost every topic under the sun, those of us who have taken the time to hone our unique voice and tone are more likely to stand out in the crowd.

A strong personal brand serves as a powerful marketing tool in this new environment. It is what sets you apart and what makes you unique. And, it will be the reason why clients seek you out specifically, rather than just a generic service. Your brand communicates what AI cannot replicate: your distinct perspective, your particular area of expertise, your individual style, and the trust you build through consistent, authentic engagement.

What Is a Brand?

First, a quick refresher: what is a brand?

A brand is the perception and emotional association that people have with a company, product, or individual. It includes not just the visual identity like logo, colors, and typography, but also the values, voice, personality, reputation, and overall experience that the brand delivers.

A concise definition: A brand is the sum total of how someone perceives a product, service, or organization — it’s the promise you make and the experience you deliver.

Key elements of a brand include:

Name – the identity by which it’s known
Visual identity – logo, color palette, design system
Voice and tone – how it communicates in writing or speech
Values and mission – what it stands for
Customer experience – how people feel when they interact with it
Reputation – how it is talked about by others

A brand isn’t just what you say it is — it’s what others say it is. It lives in the minds of your customers and audience.

What Is a Personal Brand?

A personal brand is the distinct impression you create through the way you communicate, behave, and show up in the world, both online and offline. It’s the story people tell about you when you’re not in the room, shaped by your values, personality, expertise, and the consistency of your actions over time. Unlike a corporate brand, a personal brand is rooted in authenticity and evolves as you grow. It’s not just what you do — it’s how you make others feel and what you’re known for in your field or community.

How to Build a Personal Brand

Building a memorable personal brand takes time and effort. Here’s a refresher on the core components of a personal brand:

Define Your Identity and Niche: Begin with self-reflection. What are your unique strengths, core values, and true passions? What specific area of writing or editing do you excel in, or wish to be recognized for? Specializing enables you to become an expert in a particular domain, making your brand more focused and appealing to ideal clients. This involves articulating your unique value proposition (UVP) — what distinguishes you and how you solve client challenges. Remember, it’s better to niche down and focus on a specific industry, audience, or type of writing than to be a generalist. When you focus on a niche, you can still accept work from other niches. It simply means focusing your marketing efforts on the niche, casting a wide net in a smaller pool.
Identify Your Target Audience: Aesop said, “Please all and you shall please none.” Marketing to everyone is marketing to no one, so choose a target audience. Then, take time to get to understand them. Conduct market research. Read their stories. Understand their needs. Tailoring your brand message and services to resonate with this distinct audience is crucial for attracting the right clientele.
Write Your Sales Story: People connect with stories. Share your journey, your motivations, and what drives your dedication to your craft. This humanizes your brand and fosters emotional connections with your audience, differentiating you from generic service providers.
Build a Consistent Online Presence: Your online presence functions as your digital storefront. This includes a professional website or portfolio showcasing your best work, a consistent visual identity (logo, colors, typography), and optimized social media profiles (e.g., LinkedIn for professional networking). Ensure your messaging, tone of voice, and visual elements are cohesive across all platforms. Consistency is the key to success. Posting daily is better than posting twenty times a day.
Produce High-Quality, Value-Driven Content: Consistently create and share content (articles, social media posts, videos, etc.) that demonstrates your expertise and offers tangible value to your target audience.
Engage in Active Networking and Collaboration: Build and work your network. Use your NAIWE membership to its fullest! Connect with peers and potential clients to expand your network and build relationships. Participate in discussions, attend relevant events (both online and offline), and seek opportunities for partnerships. Client testimonials and recommendations are also invaluable for enhancing your reputation and credibility.
Embrace Authenticity and Transparency: In the age of AI, authenticity is your most significant asset. Be genuine in your interactions and true to your values. While AI can assist with content creation and optimization, always ensure your unique voice and personality shine through. If you use AI tools in your workflow, consider being transparent about it, particularly when dealing with heavily AI-generated content. Your audience seeks to connect with a real individual, not an algorithm.

Be Seen, Heard, and Found Online: Think Outside of Search

As AI continues to dominate online search, it’s important to think outside of the search box. Consider offline methods of attracting customers. Attend local events or become active in your local chamber of commerce or business networking group.

Podcasting has become wildly popular and may enable you to reach new audiences. You don’t have to start your own podcast to be successful at it. Why not develop a list of podcasts that you’d like to join as a guest? Research the podcasts and read their guest requirements. Then, craft your pitch letter to be on the show. The process of pitching a podcast is very similar to pitching story ideas to clients and editors, a skill nearly all of us have honed over the years.

Video has also gained in popularity now that AI is dominating search results. Consider creating short video presentations sharing tips, strategies, and helpful hints with your target audience. Consider repurposing your blog (if you have a blog or own the rights to your article content) as videos.

Build and Launch Your Brand Now

I began this article by stating that AI has transformed search, and that building your personal brand is crucial to standing out online in this new world of AI-generated content.

AI can look and sound like a person, but it’s not a person. It can write, but it can’t write like you can. As AI continues to gain popularity and acceptance, people will crave genuine human connections. People will want authentic, real-life events; human emotions; and story-driven text.

I don’t know anyone reading this who would give up a cupboard of factory-produced food: cans of soup, boxes of pasta, and so on. Because we have such convenience at our fingertips, we don’t have to spend hours every day farming, hunting, or preserving our food.

Yet even though we all love convenience, many of us also love cooking from scratch. We can go to a restaurant, make a meal from boxes and cans, or cook it from simple ingredients. There’s room in the world for both mass-produced and original creations and for a great deal of variation in between.

The same goes for writers, editors, and those who work with words. AI can generate articles. It can find grammar and spelling mistakes. It can produce content, but only you can create original content. There is room in the world for those who prefer AI-generated content and those who crave unique voices and a personal touch.

It’s the latter group that we want to attract as clients, and to do so, we need to build a personal brand that is as unique as our fingerprints. Now is the time to develop and launch your brand as an independent writer and editor. Companies and clients are seeking what you have to offer, but they need help finding you. Stand out and own your brand in this age of AI-driven content.

Jeanne Grunert is the president and founder of Seven Oaks Consulting, a business-to-business content marketing agency. She is an award-winning writer and direct marketing expert with over 30 years of writing, marketing, and business experience. Prior to founding Seven Oaks Consulting, Jeanne led marketing for divisions of McGraw-Hill Education, Teachers College Columbia University, The College Board, and retail, publishing, and financial service companies in the New York City area. Known worldwide for her exceptional leadership and communication skills, Jeanne works seamlessly across cultural and corporate barriers to achieve outstanding results. She holds an M.A. in writing and an M.S. in direct and digital marketing (awarded with distinction) from New York University, as well as certifications in social media marketing, content marketing, and adult education. Originally from the New York City area, Jeanne currently resides with her husband, John, and many pets on a 17-acre farm in rural Virginia. When not leading marketing teams through her work at Seven Oaks Consulting, she enjoys gardening, reading, cooking, and writing mystery novels.

New Home Brings New Networking Opportunities and Insights

Wednesday, July Post a comment

I didn’t think there was anything new I could say about networking, and then I realized that a recent big life change offered opportunities to think about the value of networking and ways to make it happen.

I’ve moved from St. Louis to a condo community outside Albuquerque, New Mexico, to be close to family; the older of my two younger brothers has lived in this area for almost 50 years, and his daughter and son, their families, a cousin and her family, and even a high school classmate all live in the same town. My new place is about a 15-minute drive from them, which is convenient without being intrusive. So far, it’s working out great; I had some health challenges in my first few weeks here while adjusting to the high altitude and dry heat, but I seem to be back to my usual self. To my great relief, my cat is adapting beautifully, despite two airplane flights and temporary quarters at a family friend’s house while awaiting the arrival of my movers.

Where does networking fit into this new adventure? For the past few years, I’ve been active in Missouri Professional Communicators (MPC), the regional affiliate of the National Federation of Press Women (NFPW). And NFPW has a New Mexico branch! Not only that, a friend from high school who lives in Las Cruces is a member. I’ll be attending an Albuquerque Press Women event next week as a first step in establishing professional connections in my new locale and am looking forward to participating in this new-to-me group.

To make it even more exciting, I just received certificates for six awards in the MPC communications contest, which means I’m eligible for national awards at the 2025 NFPW conference this fall. I’m planning to use that recognition in networking and outreach efforts with local and regional publications.
At least one of my other longtime professional memberships doesn’t have a local chapter, but there might be other groups worth joining to expand my networking activity.

My point for NAIWE colleagues is that belonging to and being visible in networking through professional associations can ease the transition to a new home, whether across town or across country. Even if you have family and friends in a new place, networking can bring professional advantages and a stronger sense of belonging. And as I’ve often suggested, if you belong to a national association without a local chapter in your new (or current) region, consider starting one!

Ruth Thaler-Carter has been a full-time freelance writer, editor, proofreader, desktop publisher, and speaker for more than 40 years. She has been published locally, regionally, nationally, and internationally in, and does writing, editing, and proofreading for, publications, associations, nonprofits, websites, service firms, independent authors, and businesses. She sold her first freelance articles when she was still in high school. Often called the Queen of Networking, Ruth is active in about a dozen professional associations, serving as a newsletter editor, webmaster, publication author, speaker/presenter, blogger, program host or planner, and chapter leader. In 2006, Ruth launched the Communication Central Be a Better Freelancer conference — now cohosted with NAIWE — to help aspiring and established freelancers find greater success. Ruth is also owner and editor-in-chief of the An American Editor blog and owner of the Publishing with Flair publishing business. Her honors include member of her high school alumni hall of fame, in part for her publishing work and networking services; Writers and Books Big Pencil Award for teaching adults and contributions to the literary community; EFfie awards for writing, editing, and newsletters; an APEX award for feature writing; the Philip M. Stern Award of Washington (DC) Independent Writers for service to freelancers; and IABC/DC Communicator of the Year and Silver Quills for magazine writing and newsletters.

Let’s Talk Publishing

Friday, July Post a comment

When we begin writing our book, we envision it on the shelves of major bookstores sooner rather than later. We soon learn that’s not the reality of publishing. Once our eyes are opened, we often begin to think self-publishing (indie publishing) is the best option. Maybe. Maybe not.

Many of us find ourselves at Robert Frost’s proverbial “two roads diverged.” As with Frost’s roads, both paths have their own rewards and pitfalls. Let’s explore some of the details of the two paths.

Traditional Publishing

The traditional route — sending a proposal, waiting for a response, resending the proposal — can be long, time-consuming, and often requires an agent. Finding the right agent can be as daunting as getting a publishing contract. What then are the advantages of a contract with a publishing company?

Advance

Many writers like the idea of having some income while writing the book. An advance is an upfront payment against future royalties. It’s like getting a paycheck before the work is performed. When the book is published, the company uses the royalties to pay back the advance. The advance payment is based on the publisher’s best guess of future sales. Unless enough books are sold for the payback, we may not see any further income. While the vision new writers have is once the contract is signed and the advance paid, the writer can spend the day in pajamas tapping away at the keyboard. The truth is, unless we are a well-known author with a following, most of us will need another source of income.

No upfront expense

A publishing company pays all the costs of bringing the book to market. This may sound great, but it might not be entirely true. We need to at least pay for the initial editing and, unless we’re a famous best-selling author, marketing is our expense as well.

Sense of accomplishment — finally made it

At one time, self-publishing was considered to be for writers who didn’t write well enough to be published. True, some people need to learn more about writing. However, many good writers were left in the dust as well. Even now, when our accomplishments are recognized by a publishing company, we feel as though our writing and ourselves have been validated.

Not all is rosy with a publishing contract. There are also drawbacks to consider.

Little control

The publishing company makes most decisions about the cover, editing, formatting, and so on. Some publishing companies may look at your suggestions, but don’t count on your wonderful image making it to the front of the book. We must trust our representative at the company to make the best decisions for us.

Length of time to publication

After signing a contract, it may take two years or more before our book is published. Publishing companies have a routine and schedule for manuscripts. Each one follows the same steps. Some smaller publishers may move a little faster.

Little marketing help

We, the authors, are primarily responsible for marketing, including any expenses. Marketing begins long before the publication date. As much as we may not like social media, it’s a must.

Self-Publishing

Self-publishing is, as the name implies, taking care of the publishing details ourselves. It doesn’t mean you need to be a graphic artist to create your cover or have a professional editor. Like traditional publishing, there are pros and cons. What are the benefits of the DIY method?

Creative control

As the publisher, we can make all the decisions about the cover, formatting, even the type of book: ebook, print, or both. As a self-publisher, we can choose an editor and a graphic artist with whom we work well.

Can be published quickly

The book will be available sooner. We’re not waiting for the wheels of the publishing company to grind through the process. Because publishing companies release books based on a company-specific schedule, sometimes, a lesser-known writer will be bumped for a “hot” topic book. By self-publishing, we can determine the best time to release our book.

As can be expected, there are negatives to self-publishing.

All upfront expenses with no advance

Not only will you not receive an advance, but you’ll also be responsible for all the expenses. While it’s possible to use “cheap” services, the quality may only be as good as what you pay.

Little marketing help

In today’s publishing world, marketing is the author’s responsibility. The same methods used for traditional publishing are available to a self-publisher.

Stigma

At one time, a self-published book meant the book wasn’t good enough. With the ease for writers to publish their books now, more well-known writers are using this method. Did you know Stephen King self-published one of his books? Many writers set up a publishing imprint to add legitimacy to their products. I recommend contacting an attorney to see if there are legal requirements in your state.

Writers have several chores when using a publishing company.

Traditional Publishing

An agent (maybe)

Some publishers require all proposals to come from an agent. Be sure to check the company’s guidelines. Pursuing an agent takes some of the same steps as landing a publishing contract. Some well-known agencies may even require a recommendation from a current client.

A book proposal

A book proposal has some standard parts: synopsis of the story, marketing plan, table of contents, and sample chapters. Some agents and publishers have a sample proposal on their website.

Building a platform

A writer’s platform is their visibility to readers. Some of the elements may be a newsletter, social media, and other publications. Platform numbers are included in the marketing section of the proposal.

Patience

It takes time. Traditional publishing is a waiting process. This is the reason it may take years before a book is published.

Self-Publishing

Self-publishing is more than writing a book and uploading to an online store. Some of the chores are needed.

Proposal (maybe)

Writing a proposal for your book, even though you plan to self-publish, helps you hone in on the other facets of your needs.

Building a platform

As with traditional publishing, the platform should begin before and during the writing phase.

All of the services

You are the publishing company. You will provide the cover design, editing, formatting, and so on. It’s best to be prepared to hire professionals for these tasks.

Patience

Self-publishing may be faster to market, but it still requires patience. Some tasks, such as editing, take time to be well done. While waiting, continue platform building.

The choice is based on our goals for our book. Each of us must determine what is most important for our book. Most of my books have been self-published, but I do have a book with a publishing company. For each one, I’m happy with the results.

It’s not always an easy decision, but one each writer must make for themselves.

Susan K. Stewart teaches, writes, and edits nonfiction when not tending chickens, peacocks, and donkeys. Susan’s passion is to inspire readers with practical, real-world solutions. Susan’s first published work was a poem in her elementary school “literary” booklet. Since that humble beginning, Susan has written for newspapers, magazines, and compilations. Her books include the award-winning Formatting e-Books for Writers, Harried Homeschooler’s Handbook, Family Preparedness in the City and Suburbia, and Donkey Devos: Listen When God Speaks. In addition to being a managing editor at Elk Lake Publishing, Inc. and co-owner/administrator of The Writers View, Susan is a member of American Writers and Speakers Association, Christian Authors Network, and Proofreader and Editors Network.

Five Reasons to Seek a Literary Agent for Your Book

Wednesday, June Post a comment

There are many paths to publishing a book — self-publishing, hybrid publishing, and traditional publishing are the main types. But how do you know if you need a literary agent? Here is some information about the publishing landscape, plus five great reasons why you might want to seek a literary agent to help you on your publishing journey.

First, let’s take a look at the three main types of publishing.

Self-Publishing is the process of publishing a book without the involvement of a third-party publishing house. Authors pay for every part of the publication process, from editing, design, printing, binding, distribution, and fulfillment. Authors control all the decisions and keep all of the profits.

Hybrid Publishing is, simply expressed, a cross between self-publishing and traditional publishing. The author and publisher co-invest in the costs of a book project (editing, design, printing, binding, distribution, and fulfilment). The publisher lends their professional expertise to the project, but the author usually has more control than they would in a traditional publishing situation. The profits are shared.

Traditional Publishing is the process of submitting a book for publication to an established publishing house. Authors are typically given an advance payment against future sales and a royalty rate that reflects a percentage of the sales of the book. When the book goes on sale, the author’s royalties are calculated and subtracted from their advance. When the advance is earned out, the author is able to earn additional royalty revenue. In a traditional publishing model, the publisher funds the editing, design, printing, binding, distribution, and fulfilment. The author may be consulted regarding aspects of the process, but the publisher has the final say. The publisher keeps a larger percentage of the profits because they invest the most money in the book. Traditional publishing is typically considered the most prestigious form of publishing.

Of these three main publishing models, traditional publishing is where a literary agent can be the most useful. Here are five reasons why:

1. Agents are Often Mandatory in Traditional Publishing

If your goal is to be published by a traditional publisher, especially one of the larger publishers or “The Big Five,” you’ll most likely need a literary agent to get you through the doors. Many smaller publishers prefer agented authors as well. While some mid- to small-size publishers will take unagented submissions, the advantages of having an agent on your team are many. In addition, book submissions will typically get read much more quickly if an agent submits them than those from an unagented author, with the assumption being that another industry professional has already vetted the author and their story for marketability. Some authors will also consult agents for hybrid deals to get through tedious contract language.

The “Big Five” Book Publishers (Penguin Random House, Simon & Schuster, HarperCollins, Hachette, MacMillan) are some of the biggest media companies in the world. These large publishing companies have several imprints, or sub-labels, under them, each with different genres and editorial wish lists. They also can have deep pockets and are able to give larger advances to authors. A literary agent knows how to work with these large companies and has contact information for all of the different editors and their tastes.

2. Agents Cultivate Relationships on the Author’s Behalf

Part of a literary agent’s job is to develop relationships and understand what editors’ want to see on their lists. Agents often meet with editors, both in person and virtually, to find out what they are looking for, then use that knowledge to put together customized submission lists for each author they represent. Also, when editors have special opportunities — such as seeking writers for specific books to fill in holes in their list, or in-house series that they would like to pursue with outside talent, or even work-for-hire projects that could augment a working author’s income — editors will reach out to literary agents in their network to let them know about these ancillary projects. As such, agented authors may have access to greater opportunities than unagented authors.

3. Agents Know Publishing Lingo

Using their specialized knowledge of the industry, a literary agent looks at all the available rights in a book contract and aims to leverage every opportunity for an author, such as a multibook deal, subsidiary rights (foreign language translations, ebooks, audiobooks, etc.) escalations on royalties, award bonuses, and more. Without an agent, authors “don’t know what they don’t know” and might miss out on negotiation points that could lead to important revenue streams in the future. From a publisher’s point of view, they often prefer to work with agents who can vet their contracts swiftly and without a lot of newbie questions — it’s well worth their while to work with an industry professional who knows publishing contract vernacular.

4. Agents Work their A$$es Off

Since agents don’t get paid until they sell a deal, you can expect them to work HARD on your behalf! Indeed, you may have heard stories about how difficult it is to find an agent. It’s likely because selling a book to an acquisitions editor is really tough work. Before taking you on, the agent needs to have a solid notion that they will be able to sell your book to a very fickle and ever-changing group of editors. As for payment, the industry standard for literary agent commissions is 15% of whatever deal they are able to get on behalf of their clients. No money changes hands until after a contract has been signed with a publisher, which can take months and even years. (Pro tip: If an agent asks you for money up front, this is a red flag and you should walk away.) In short, agents are very selective about who they sign because it can take a lot of effort and time to find the right person and place where the book will find a home.

5. Agents Are In It for the Long Haul

A literary agent’s job doesn’t end when the book sells. They stay involved for the life of the book and they are on hand as the author’s “business affairs representative” whenever needed so that the author can stay focused on creating. If ever something comes up with the publisher that needs attention — good or bad — the agent jumps in to help. In addition, most agents are keen to help authors develop their writing careers and look forward to helping develop the author’s next book. Agents typically also work on manuscript development, book proposals, and more (note: for no extra fee!), making them key components of an author’s career team.

If you’re considering taking your book writing career to the next level by seeking a literary agent, here are three places to seek out possible agents to represent your work:

Manuscript Wishlist is a free tool where you can search for agents (and acquiring editors) to find out what they are looking for specifically for submissions.
Query Manager is another free tool for searching for agents. An advantage over Manuscript Wishlist is that you can query agents directly from the interface.
Publishers Marketplace requires a subscription, but it is very comprehensive. You can do specific searches and find actual deals that agents have sold throughout their career. However, it does not indicate whether or not agents are actually open to new clients, like with Manuscript Wishlist and Query Manager.

I wish you all the best in your writing endeavors, whichever route you pursue.

At different phases of her publishing career, Jen Newens has been an author, editor, and publisher, giving her experience in all sides of the publishing business. In her role as senior literary manager at Martin Literary Management, Jen applies her 360-view of publishing seeking out fresh, original voices and developing new and established talent. She represents both children’s literature, representing all authors from board books through YA, and adult nonfiction, with a special focus on food and drink, health, and wellness titles.

Welcoming a New Season

Wednesday, April Post a comment

Apologies in advance for invoking a cliché — it’s time to spring into spring.

As a freelance writer and editor, I always view a new year as a great opportunity for new projects and clients, new and better rates, new tools to obtain and use, new aspects of language and usage to learn about and adapt to, and new topics to add to the areas of interest and expertise that I work in. In some ways, 2025 is no different so far; in the first couple of weeks of January, I received assignments from one occasional client and several of my regular ones, presented three Zoom sessions for three associations I belong to, and pitched a few potential new clients with ideas for new projects. It felt like a good start, and provided momentum that is lasting into this new season.

With that said, I’m terrified about the political landscape we’re facing as 2025 has gotten started, but trying to be optimistic about the things I can control, starting with networking activities.

I’ve been active over many years in about a dozen associations, including NAIWE. As some of our members know, I make a point of emphasizing the importance of being more than a “checkbook” member — not just joining an association, but being active and visible in it; not sitting back and waiting for it to hand us something, but giving time and service to the group and its members.

That means participating in discussion lists, forums, and other communications channels by answering colleagues’ questions, giving advice, sharing resources and tools, and even asking questions that lead to useful conversations. It can mean writing blog posts, columns, articles, even books for the group; presenting webinars, workshops, courses, and conference speeches; organizing events; and promoting a group and its services.

We do need to receive enough service, benefits, and connections from our networking efforts to make both the financial and the time elements worthwhile. Where many people err, though, is joining an association just to find new jobs or freelance projects. That’s a valuable aspect, of course, but can lead to disappointment, because simply signing that check or making that online payment is not a guarantee that new work opportunities will magically appear. Most association job services are super-competitive simply on the basis of numbers — depending on the group, anything from dozens to hundreds of members might compete for the same opportunities. Not everyone who applies for those opportunities will be qualified, which makes it more challenging for qualified colleagues to rise to the top and harder for clients to reach those who are right for a job.

I’m not a very political animal, but in 2025, my perspective on networking includes looking for ways to protect democracy, copyright, and civil rights. I’ll be looking for ways to connect my communications skills and activities with those and related issues, which I think will be increasingly important as the year evolves.

On a less esoteric level, I’ll be assessing what I give to my various membership organizations and what I receive in return. I might step back from being as active as I typically am in some of them — and I might find new ones to join and contribute to. As I noted in my most recent NAIWE blog post, I’m heading to a new home where such assessments and investments will be foremost on my agenda, both professional and personal.

Here’s wishing a healthy, productive, and profitable 2025 for all of my NAIWE colleagues.