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One of my most popular posts last year was this one: 3 things freelancers should stop worrying about. I can’t prove exactly why it resonated so much, but my guess is that a lot of people took it as permission to relax about things that gave them disproportionate amounts of stress, coming straight from an assigning editor’s mouth.
In the year+ since writing that, I’ve hosted dozens of panels on all kinds of topics, met hundreds of new freelancers, expanded what FWT offers, and even went freelance myself. All that is to say: After diving even deeper into this world, I’ve seen a whole new slew of things freelancers stress over that really no one cares about all that much.
So as we reach the end of a stressful and often terrible year, here are three things you should quit worrying about moving into 2022.
What anyone thinks about where you’re writing
Ever since starting FWT, one of the most common questions I’ve gotten is: “Will editors look down on me if I’ve done X, Y, or Z type of writing/copywriting/project work/non-news writing/whatever else?” The answer most of the time is no. Unless that work presents a conflict of interest with other work you’re being assigned, no one cares! Editors understand that freelancers have to make a living, so as long as your other work doesn’t conflict with work you’re being assigned by a newsroom, do what you gotta do.
The truth is, no one is really following your career except for you and your family. Even if by chance an outsider were following it, they wouldn’t care what you do. We sometimes think our careers are under a constant spotlight, but that is simply not the case. Make that money! No one is watching :)
Making introductions with editors/networking in general
“What if they think I’m being weird? Too pushy? Not up to their standard? Thirsty? Unprofessional? Too inexperienced? Too young?”
This is but a small selection of excuses I’ve heard firsthand from freelancers for not making a casual introduction to an editor. It’s easy to feel these emotions! That interaction can feel intimidating! But I want to tell you: From the editor’s end, it couldn’t be more casual. Of course no editor would think someone is too thirsty for just introducing themselves! But sometimes our impostor syndrome kicks in and gets in the way of doing super-simple, low-stakes tasks — like DMing an editor who works at a publication you’d like to write for.
Here’s the truth, and why you should just make that dang introduction: Editors expect it, and editors need writers. Part of the job of an editor is to build out a roster of reliable writers — look at any job listing for an assigning editor role and you’ll see that having that roster is always listed as a requirement. But they can’t put you on the roster — or even just assign you stories — if they don’t know you exist. So just say hi! If you’re still a little anxious about the idea, here’s some text you can literally copy/paste into a Twitter DM to that editor you’ve been wanting to meet (and yes, they are fine meeting you via DM. No one wants more email):
Hi! I’m [name], a freelance writer. I’ve been following your work for a while, and I just wanted to say hi and see if you happen to be commissioning stories at the moment? (If so, is there anything in particular you’re looking for?) Either way, glad to meet you, hope to work with you on something sometime!
The point is: Networking is only weird if you make it weird. So just be normal and you’re in the clear!
Come hang out Thursday for one of the final FWT events of 2020!
Dec. 16 @ 6 p.m. Eastern time: the art of structuring a longform feature. Join me as I lead a deconstruction exercise of a published longform narrative story + give you tips on how to use those tools in your writing. Click here to register.
Not having the ‘right’ clips to pitch X publication
This one hurts me to my core, because when I hear a writer ask about this, all I hear is: “My impostor syndrome is actively costing me money and work.”
Don’t let a lack of experience scare you out of pitching a great story to a great outlet.
Sure, it’s probably true that your very first longform narrative feature won’t be published in The New York Times Magazine. But on the other hand: What have you got to lose by trying? One of the core responsibilities of editors is to buy great stories. If you have a great story, why not shoot your shot? In my experience, and from what I’ve learned with conversations with other editors, most of us are generally willing to take a chance on a great story (that came via a great pitch) from a less-experienced writer. We take on these stories knowing we’re also kind of taking on a project that will require extra time, energy, and coaching, but if the right story pitch comes in at the right time, that’s a tradeoff that can have a huge payoff. Yes, clips of course matter, and they are important to landing good bylines. But what matters more when it comes to clips is the quality of the story and the level of your ability, rather than the outlet that happened to publish it.
Jobs Board
Here's a selection of job openings from Mandy Hofmockel’s Journalism Jobs and a photo of my dog newsletter. Check out dozens of other roles on her list, then sign up for weekly updates each Monday.
Report for America, many locations | About 150 new reporting corps positions (Source: Report for America)
Today Digital, New York or Los Angeles | Multiple openings, including News & Trending Reporter, Trending Reporters, Trending Editor and Weekend Editor (Source: @ariannagdavis via Twitter)
High Country News, remote within western U.S. | Multiple openings, including, Contributing Editor, Books, Culture and Commentary (part-time, contract); Climate Justice Fellow; and Indigenous Affairs Desk intern (Source: @highcountrynews via Twitter)
The Beacon, Kansas City metro area | Multiple openings, including VP of Corporate Partnerships and Kansas and Missouri Statehouse Reporters (Source: @kcbeacon via Twitter)
Civil Beat, Honolulu or remote considered | Newsletter Editor (Source: @CaulfieldCM via Twitter)
Oh, a few other things …
• I am now offering one-on-one coaching! This can include anything you need help with: pitch feedback, writing and/or editing coaching, story development, story editing, social strategy, and anything else. Book a timeslot here.
• Last week I did a couple of wonderfully fun interviews:
I joined our friends at The Authors Guild for a panel on diversifying one’s income. Watch it on YouTube here, then read last week’s newsletter for subscribers about implementing those strategies into your freelance business!
Jonathan Small hosts a fantastic podcast called Write About Now, and I dropped in for an hourlong chat about all things journalism, from writing better pitches and learning how to set rates, to disentangling your identity from the thing you do to make rent money. Click here to listen.
• Don’t forget to follow us on Instagram!
Okay bye ily!
-Tim ❤️