posted
At a panel discussion, consisting of writers who write as our full time job, the audience had a hard time understanding that if you really want a career in writing, you need to get used to doing freebies in the beginning. I thought the basics of this would be helpful here.
During my first years as a writer what allowed me to walk into a publisher’s office with confidence was the writing portfolio tucked under my arm. I could talk to any publisher with at least some confidence because I had a body of work I could display as proof that I could work with a magazine, that I could work under deadlines, that I could turn in a piece that was readable. The fact that almost all of those first few articles were freebies was irrelevant. Those freebies gave me the credentials necessary to avoid the slushpile.
Freebies are valuable to the starting writer because they build experience and, more importantly, resumes. Whenever I’m at a seminar or a panel and someone asks me for the piece of advice I’d give any aspiring writer, it’s simply this, start as early as possible (I wish I’d started at twelve), and get as much in print as you can.
Try to get paid as often as possible of course, but don’t toss away a possible credit just because the publication pays little or no fee. I get paid as much as a dollar a word nowadays and I’ve done work for major pubs, but I still do a freebie whenever I get the chance and have the time in my schedule. Maybe you’ll be one of the lucky ones that just stumble across success on your first book submission. Maybe you make a living doing something other than writing, and you can afford to let writing be a hobby until you get that big break. If that’s the case then I envy you. But most writers won’t stumble onto success and most people for whom writing is part-time work will remain part-time writers their whole life.
Pride has been the downfall of many talented writers. We all want to get paid well for our sweat, but the fact is that for every penny offered for an article, there are likely a dozen competent writers trying for it. Also, just because you won’t get money for a freebie, don’t think you aren’t getting paid for it. Rolling Stone magazine started out as a cut-and-paste Zine that could barely afford stamps, much less pay to writers. Now, if you get an article in Rolling Stone, it can be an automatic career booster, not to mention a nice paycheck. Getting in on the ground floor of a new publication is yet another reason to go for freebies.
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Josh, are you writing about nonfiction or fiction?
In my experience nonfiction editors care more about prior credits than fiction editors (although I'm sure that having a bunch of short story sales can help when you go to shop your novel around, for example), and I get the idea most fiction editors would rather throw a writer out for coming into their office with a portfolio than give them work. This is far more normal for nonfiction writers (and cartoonists) who can pick up work on assignment.
You also have to be careful to check out the credentials of the other party. Certainly in the entertainment biz there are a lot of unscrupulous producers who rely on getting writers to do stuff "on spec" (for free) and then either paying them less than was promised or nothing at all when the deal is closed. I don't even work in the entertainment industry and I've heard horror stories about this.
Doing freebies does exercise your writing muscles, and in that sense it's fine. I've done enough of it over the years and have never been ashamed of it; I've done game FAQs, toy reviews (under a pseudonym), book reviews, movie reviews, essays, whatever--I even put stuff up at themestream.com (a really boneheaded idea for a website; I'm not surprised they went bankrupt), although since I got paid some actual money (a couple hundred dollars) in royalties from that one I don't think it counts.
I've learned a lot about writing from it, anyway. But I don't think fiction editors care unless the credit is directly related to what you're writing, or unless you've already had fiction sales. Otherwise, not only do they not want to know, I suspect they get annoyed with you for telling them.
posted
Perhaps I misspoke. I did not mean to imply that anyone should go to an editor and brag about their portfolio. What I meant was that having provable publishing experience is an attractive quality to publishers and editors. In addition to showing what a writer is capable of, it also shows that the editor may not have to hold the writer’s hand. Time is arguably the most valuable resource an editor has, and anything that shows an editor that a writer won’t need constant guidance is a plus.
I suppose I am talking more about non-fiction than fiction. However I can say from firsthand experience that when it comes down to an even (equal skill) choice between two fiction writers, many editors will go with experience.
As far as “on spec” work goes, you are right in saying that great care must be taken. However, spec work can be a good way to get an in with a publication. I’ve hooked up with more than one publication with a “test piece.” One example in particular developed into a solid relationship with a publication that has now lasted four years and gave me access to two additional publications that grew out of the primary magazine.
You are absolutely correct in saying that a writer MUST check the background of any organization they submit to. With proper research on the writer’s part, he or she can limit the trouble they have with spec work. I’ve also been burned but the pluses have outweighed the minuses overall.
posted
Unless your name is something like Stephen King, Orson Scott Card, or Robert Jordan, experience doesn't count for much in speculative fiction. You don't know how many times I've seen that on publisher's guidelines. "Let your story speak for itself." "Feel free to tell us your credits but we only care about the quality of your work."
Heck, in speculative fiction you hardly even get to go talk to editors anymore, except for maybe in short story markets. You talk to agents, and they decide if you're worth the trouble to bother an editor with. Then if you have publishing credits, it is nice that you have been prolific, but still they will weight their decision on your query package.
I would highly recommend against freebies in speculative fiction. (I will not speak to non-fiction or any other fiction genre.) Their standards are low and an acceptance from them is practically meaningless. If a publisher has not heard of the magazine (which they probably haven't if it's a freebie) then the likelihood of them caring is practically nonexistant.
Now, if you want to see your work in print and you've tried every other market you can think of, then go ahead. I'll even give you a shout of "woohoo" on the writers in print forum, but the next step is not dozens more freebies followed by a novel sale...the next step is a paid short story, and then a more highly paid short story, and then a professionally paid shor story, and then SFWA membership, and if you can get that an agent might sit up and care.
posted
I did 4 freebie stories, then stopped. I don't know that I'm right, but I had heard that nobody cared about freebie publications in fiction. I'd write for the paper or magazines if I thought it would help my fiction sell. But "let your story speak for itself" -- I hope this is right, because then I get to do what I really want, which is write fiction.
Posts: 2830 | Registered: Dec 2004
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posted
As I am still relatively new to the fiction market it would be wrong of me to speak as an expert. Forgive me if I came off that way. I’ve only had a few short fiction stories published as yet - five to be exact. Two were freebies for the exposure and the high of seeing my fiction in print, but the other three were paid gigs - $55, $55, and $65. Not tons of money but good for gas.
Two of those came from a connection with an editor when she worked at another magazine, which was a magazine I started working for on spec before becoming a regular. The other paid gig came to me because an editor saw one of the freebies and contacted me when he decided to start a regional fiction magazine.
So I have to go with what my eyes have shown me and say that there is a place for freebies in the so-called “serious writer’s” repertoire, even in fiction. Then again, maybe I’ve just been fortunate. But if I had not worked on spec early in my career and done some freebies later when I branched out into fiction, I would not have gotten three of my five fiction pieces published. Maybe it’s just my sales and marketing background that has me thinking this way. I’m a mercenary at heart I guess. Either way, I’d do a freebie again. But that’s just me. In the end it really comes down to doing whatever works for you.
posted
It comes to the same thing, in the case of a writer. A publication credit only counts if the person you're trying to impress has heard of the publication, after all. If they happened to actually work at that publication when you're work was accepted there, well, so much the better, but it isn't a difference in kind.
There is a sharp difference in the collegiality among nearly all journalistic or academic publications (which make up most "non-fiction" markets) and the collegiality of fiction markets. Basically, with an unpaid fiction credit, you're in the same position as you would be if you had an unpaid non-fiction credit for the local Neo-Aryan rag. Paying journalistic markets have a lot more influence over the content of non-paying journalistic markets (just as high-profile academic markets have influence over low-profile academic markets). So there is more of a connection there.
posted
The topic of writing for free is actually a hotly debated topic in the freelance writing market. On the one hand, you have people who say the only way to break in is to do freebies and build your portfolio. The upside is you learn the discipline to write and the industry (kind of like apprenticing). The problem with that is if you write for xyz magazine whom no one has ever heard of, then that freebie really doesn't do you any good. If an editor has to chose between two writers (as they often do) and writer x has written for BigMag USA while writer y wrote for SmallTown Local, most editors will go for writer x. As sad as it is, where you get published matters as much as how well you write. So I would say that you must be very discriminating in your choice of who you give a freebie to and the benefit of writing to them for free should far outweigh getting money to pay your rent. I've decided the only time I'll write for free is apart of my personal belief in tithing. (Yeah, I think saving my soul is a little more important than getting paid.)
The other side, and one I tend towards, say that this is just another way the publishing community takes advantage of writers. Think about it. Do these magazines ask their landlord to stay in their office space for free? Do they ask their utilities to give them free heat and electricity? Do they ask their ISP for free internet service? Of course not. They budget for these items and pay the expenses. Accordingly, hiring writers is an expense and need to be budgeted for as well. And until we as writers stop fostering the idea that we are the exception via writing for free, the publishing community will continue to look at us as more as hobbyists and less as professionals.
I don't think it has anything to do with pride as far as wanting to get paid for what you choose as your career but common sense. I have a day job. If as part of a condition of working there my employer said I would have to work for free for awhile before they would pay me, I would not be working there. Likewise, I expect to get paid for my writing even though it is something I love to do. It may not be the best pay in the world starting out but as I gain more experience and credits I expect the amount I'm paid will increase as well.
I'm not an expert either. This is completely my opinion.
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Weaver, “…as I gain more experience and credits I expect the amount I'm paid will increase as well.” That is exactly right. For a newbie, which for fiction I consider myself to be, freebies can be a good way of gaining credits and experience. I do freebies because they lead me to bigger things. Maybe it won’t prove as true for me in the fiction market as it has in other markets, but it’s worked so far.
Christine, You betcha. That's one of the first things I learned when I started writing for a living and the first thing I tell the people in my groups. With the possible exception of actual writing ability, the most important skill a writer can have is the ability to network.
Survivor, I would think that if I were published in some very well known fiction anthology and then went to a lesser market and submitted something, I might be in a slightly more favorable position.
But then again I’m new at the whole fiction thing, so perhaps I’m just on a lucky streak. But if the gods of writing are listening, I’ll take it as long as it lasts. I like it much better than non-fiction, money or no.
Speaking of non-fiction, if I stop responding to this thread it’s only because I’m getting slammed with deadlines again, and I’d just be repeating myself beyond this point anyway.
One last thing – is it just me or does “freebie” start to sound dirty if you say it too often? There was a point last year when I was drifting around a lot of publications in the same company and my editor referred to me as her “floater.” She says she likes my work so I’m assuming she didn’t know what the word actually meant.
posted
I don't know what my opinion is worth here. Because I do publish free and paid stories.
But previous publishing credits are interesting to me as an editor. But it does have one drawback, I expect the published writer to have a higher standard and stronger product than the first time guy.
But my decision to accept is entirely on the merits of the story not the author. I rejected a well known writer's submission this week. he had been published over four hundred times. Won the Stoker award, a Nebula, and had a novel series to his name. And he submitted the worst piece of pig tripe I have ever read. Not only did it sadden me, but it turned me off to the guy as a professional.
So take this rambling nonsense for what it's worth.
posted
My only issue with freebies is the connection that can be drawn to vanity publishing. The less likely a market is to pay, the less discriminating they tend to be.
Working at a weekly newspaper, we got all kinds of submitted copy. Most of it was poorly written and a challenge to read, but we'd print it because when you have 40 pages to fill, you have to find something to put in -- even if it is the 4-H monthly meeting minutes by Bobby-jo Humphries.
But that said, I did do a frebbie once for the local daily paper, but I wasn't happy about it. Working in a small town close to a big city, I had submitted photos to both of the city daily papers and had made a quick $50. I had a big story that broke on a Friday but our distribution day was Wednesday (our in-town competition distributed on Tuesday evening). To get the scoop on the other paper, I went to the big guys with the story. They wanted to run it, and I foolishly gave the O.K. before establishing whether or not I would be paid.
Basically when I asked the editor about it he said, "Tough luck, should have established that first."
My publisher wanted to tell them they couldn't print the story and suggested I contact the other city daily, but I chalked it up to experience (easier than trying to sell it to a different paper at 5 p.m. on Friday). At least I got the scoop, a great clipping and credit from a legit, daily paper and kicked off my very own media circus! My story prompted most of the city media to come out and do their own stories. I even woke up Saturday morning to the radio with my story as part of their headlines. Talk about an adrenaline rush/ego boost!
Sometimes I wonder why I ever got out of news reporting...
...Oh yeah, the hum-drum in between adrenaline rushes was stealing my soul.
The author I mentioned said he was in the running for a nebula and the stoker. he listed about thirty awards had won. Sorry I was angry. Thanks to A.K. For catching my oversite.
[This message has been edited by JBSkaggs (edited March 08, 2005).]
quote:the worst piece of pig tripe I have ever read.
Cool. That will help my next submission to you look better.
I haven't published enough to make a call on this one. I can say that I have never submitted to a freebie. I've got one out right now to an ezine paying the grand sum of $2.00. But it still pays. Two bucks is two bucks, and I'd rather have that than a kick in the pants.
If the idea is to be able to make a living, then freebies may not be the way to do it. (Unless you can live real cheap.)
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Josh: Perhaps I misunderstood you (it would not be the first or last time I've been guilty of that).
I'm not against low-paying gigs, or the occasional freebie, it just depends on who or what is doing the job. A fanzine that can pay in nothing but contributor's copies? That's not necessarily a bad way for a beginner to make a few connections. And college lit mags usually pay only in contributor's copies, but in that world it also opens doors to awards and other publishing opportunities.
Poetry is also a market where the best you can expect is a nominal fee or contributor's copies, but it's not a ripoff scam. (IIRC the biggest poetry magazine in the world has about 10,000 monthly circ. but several times that many submissions every year.)
Well, unless it's poetry dot com. That's a scam.
I'm no expert but those are a few examples of legitimate free/low pay venues.
JB: I've heard these kinds of stories before. You'd think Big Name Pros would be more protective of their name than to submit junk, but apparently many of them see it as a way to make money off of emptying the trunk. Blech.
posted
When a new venue starts up (like mine) every little penny counts and we are not able to start out paying for submissions. But as the magazine grows and money begins to roll in those authors who helped it grow will be remembered and given more attention in future submissions. Especially when it comes to spec pieces.
Unfortunately their are venues who do not care a whit about their authors. Nor do they ever plan to do so nor do they ever reward the authors.
The only way to know the difference is to study the market and learn what the authors themselves had to say about their relationship over time.
This is one part of writing nobody likes: digging all the dirt on all the markets.
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