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Inklings Issue 6.22
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i n k l i n g s
Inkspot's newsletter for Writers on the Net
http://www.inkspot.com
Issue 6:22 November 8, 2000
*****************************************************************
<http://www.inkspot.com/inklings/issues/ink0622.html>
In this issue: Tina Miller discusses how to break into business
and corporate writing, and Michelle West recommends a book that
"explains it all" for beginning SF/fantasy writers.
This issue sponsored by:
*****************************************************************
Publish today! XLIBRIS exists to help YOU publish in both printed
and e-books, sell through stores and the Internet, and connect
with writing resources. Plus, you keep your rights--forever. To
learn more, call 888-795-4274, write to info@xlibris.com, or
visit http://xlibris.com/pubservices/ps_pubkit.asp, Xlibris.
Where writers become authors.
*****************************************************************
ISSN 1205-6413. Copyright (c) 2000 Inkspot Company Of Canada.
See end of issue for full copyright and contact information.
*****************************************************************
CONTENTS THIS ISSUE:
From the Managing Editor's Desk
New on Inkspot/Book Giveaway/Fresh Ink
Market Information
Ask the SF/Fantasy Writer
"Writing for Corporate Clients" by Tina Miller
Inkspot Community Chat Update
Writers' Classifieds
*****************************************************************
FROM THE MANAGING EDITOR'S DESK
-------------------------------
E-Publishing and Libraries: A Report from New York
--------------------------------------------------
Last week, I had the privilege of being invited to participate in
a panel on "E-Books and Their Possibilities," hosted by the New
York Public Library. The purpose of the panel was to discuss the
impact of e-books on libraries. Participants included Jonathan
Karp of Random House, Sandra Paul of the Book Industry Study
Group (BISG), Royalynne O'Connor of Oxford University Press (OUP),
and Richard Curtis of E-Rights.
Much of the discussion focused on how print publishers like
Random House and OUP were approaching the electronic arena. The
BISG is addressing issues of encryption, and the question of
what constitutes a "new or different edition" of a book offered
in various formats (or that is frequently updated).
Unfortunately, the panel didn't have much opportunity to address
the situation of e-publishers and e-authors who aren't affiliated
with major print houses. At present, such publishers and authors
(like self-published authors) will still find it tough to break
into the library market. As one attendee noted, promotion is an
issue: If e-publishers can't bring their books to the attention
of the public (or to libraries), it will be difficult to persuade
libraries to acquire such titles.
Overall, however, attendees seemed very receptive to e-books.
Questions are being raised as to how one "circulates" an e-book,
and industry standards are still in flux, but everyone seemed
willing to embrace e-books as a legitimate addition to libraries.
Many also seemed intrigued by the possibilities of multimedia
titles, and books that offer hyperlinks to other resources.
The bottom line seems to be this: It may be a challenge for
e-publishers and e-authors to get their titles into libraries, but
the reward will be worth the effort!
Copyright Clarification
-----------------------
Two readers took me to task for last issue's editorial on
"collective copyright." One noted that the case I discussed may
actually have little effect on writers; another was concerned
that readers might misunderstand the definition of "collective
copyright." So, to clarify:
1) The primary concern regarding the Morris case is this: Writers
should not assume that their work is officially "registered" with
the Copyright Office just because it is included in a publication
that has registered a "collective copyright" that covers the
publication as a whole.
2) You do not need to register your work to protect it or to have
it officially covered by copyright law. However, according to
one lawyer who wrote to me about this issue, "(1) Registration is
required prior to initiating suit" in the case of infringement,
and "(2) If registration did not occur before the infringement,
[and] if it is not an ongoing infringement, actual losses and an
accounting ([of] the infringer's profits) are the only remedies
for NON-WILLFUL infringement. Willful infringement, whether the
registration occurred before infringement or not, will allow
attorney's fees under the 'exceptional case' doctrine." In other
words, if you have not registered your work and then seek to file
a lawsuit against someone who has (presumably) inadvertently
infringed upon your copyright, you cannot recover statutory
damages, and can recover (at best) only any amounts that you can
prove you actually lost due to the infringement (which may include
any profits you can prove that the infringer made).
3) You can register collections of works in several ways. For
example, you can register a collection of all the works you've
PUBLISHED in the past 12-month period by filing Form GRCP, and
paying a single fee. You can also register a collection of
unpublished works -- e.g., your output for a single year -- and
pay a single fee.
4) You cannot protect your work by sealing it in an envelope
and mailing it to yourself. A sealed, postmarked envelope is
not, as some claim, "the poor man's copyright registration."
It's just a sealed envelope.
For more information on copyright law, visit Inkspot's Copyright
page at http://www.inkspot.com/craft/copyright.html.
-- Moira Allen
*****************************************************************
Looking for online discussion with other writers? Check out
Inkspot's discussion forum community! Wide range of topics for
writers of all ages.
Forum Topics: http://www.inkspot.com/forums/topics.html
Community Events Calendar: http://www.inkspot.com/events
*****************************************************************
NEW ON INKSPOT:
---------------
On THE TRAVEL WRITER'S SPOT:
----------------------------
Press Trip Protocol
by Fran Levy
Going on your first press trip? Find out what you should (and
shouldn't) do to get the most out of it and enhance your
reputation as a travel writer.
http://www.inkspot.com/genres/travel/articles/protocol.html
On THE SELF-PUBLISHING CENTER:
------------------------------
New Column: Self-Publishing Q&A;, by Marc Kravitz
In this new monthly column, self-published author Marc Kravitz
answers your questions about all aspects of self-publishing.
http://www.inkspot.com/selfpub/kravitz/index.html
On FICTIONEER:
--------------
Write What You (Don't) Know (Yet)
by Magdalen Powers
Why write about the tedious details of your life when making
stuff up is so much more interesting?
http://www.inkspot.com/fiction/articles/dontknow.html
On THE CHILDREN'S WRITING RESOURCE:
-----------------------------------
Advice from a Caterpillar
Your questions about writing for children, answered by Editor
Peggy Tibbetts.
http://www.inkspot.com/genres/child/advice.html
Plus: Interview with Pattie Schnetzler, award-winning author of
Ten Little Dinosaurs.
http://www.inkspot.com/genres/child/schnetzler.html
Check THE GENRE WRITING PAGE for regular announcements and
updates regarding Inkspot's various fiction and nonfiction
genre sections.
http://www.inkspot.com/genres
*****************************************************************
INKPRINTS PRIZE GIVEAWAY:
Dark Thoughts: On Writing:
Advice and Commentary from Fifty Masters of Fear and Suspense
-------------------------------------------------------------
by Stan Wiater
Do you have what it takes to thrill and chill the blood of your
readers? Do you dream of becoming the next Dean Koontz or Stephen
King? Well, here's your chance!
Write a 150-word, terrifying opener to a horror novel or short
story, making sure to hook the reader so deeply, he or she will
have no choice but to keep reading your story! If your entry is
selected as the winner, you win a copy of this book!
Entry deadline is November 17, 2000.
To find out how to enter Inkspot's Writers' Challenge, please see
INKPRINTS, Bev Walton-Porter's biweekly book review column, at
http://www.inkspot.com/books/inkprints.html
BONUS: QUICK PICK GIVEAWAY!
---------------------------
FIVE COPIES of the 2001 Writer's Market: The Internet Edition,
edited by Kirsten Holm. Paperback, 1120 pages, retail price $49.99.
E-mail bev@inkspot.com with your name, e-mail address and a
convincing 25-word (OR LESS) persuasive writer's rant as to why
you deserve a copy of this terrific resource. Be sure to put
WRITER'S MARKET QUICK PICK in the subject header!
Deadline: November 17, 2000
Congrats to Mary Baillie <mbaillie@together.net>, who won the
last Bookstop Challenge and a copy of "Achieving Financial
Independence As A Freelance Writer" by Ray Dreyfack.
*****************************************************************
FRESH INK
---------
Advice on Novel Writing
-----------------------
In what amounts to nearly an entire book online, Crawford Kilian
offers a wealth of tips on novel-writing, including information
on plotting, narrative voice, scene construction, and marketing
your novel.
http://www.steampunk.com/sfch/writing/ckilian
WordWeaving
-----------
Monthly columns and articles on the craft and business of writing;
check the articles for a huge selection of material.
http://www.wordweaving.com
EBSCO Online: Journals
----------------------
If you're interested in locating professional journals in just
about any field or industry, this is a good place to start. You
can't obtain details or actual links to the journals, but you can
locate lists of titles to help direct further research.
http://www-uk.ebsco.com/online/OnlineTitles.asp
Independent e-Book Awards
-------------------------
If you are an e-book author or artist, you can enter your work
in the First Independent e-Book Awards, sponsored by the Mystic-
Ink Community. Submissions must be received by December 20, 2000.
http://www.e-book-awards.com/media/release.html
Peter's Place of Freelance Journalism
-------------------------------------
Links to copyright information, radio and television, mailing
lists, associations, references, magazines and newspapers, and
lots more.
http://freepages.writing.rootsweb.com/~petersplace/mags.htm
** Please send suggestions for Fresh Ink to freshink@inkspot.com
*****************************************************************
MARKET INFORMATION
------------------
Please get current, detailed guidelines before submitting to
publications if possible. Don't submit to email addresses unless
specifically stated. Include a SASE for surface mail replies.
More market info at: http://www.inkspot.com/market/.
**-----------------------------------------------------**
"FNASR": First North American Serial Rights, "SASE":
self-addressed, stamped envelope, "simsubs": simultaneous
submissions, "mss": manuscript, "RT": response time, "GL":
guidelines, "cc": contributors' copies.
Markets Editor: Sal Towse (ST). Research assistants: Shane Stacks
(SS), Margaret Shauers (MS), Jan Edwards (JE).
**-----------------------------------------------------**
SCI-WRITE E-ZINE
Editor: Sian Ross-Martin.
SCI-WRITE offers an e-mail newsletter covering the business and
craft of speculative fiction writing. NEEDS: "We currently need
articles on the craft of writing for the fantasy genres (science
fiction/fantasy/horror). We seek original and offbeat approaches
as opposed to the overdone how-to." LENGTH: 2,000 wds max. GL:
Either query via e-mail, or submit complete articles via
SCI-WRITE's article submissions page (see URL below). No simsubs
or multisubs. Submissions will not be considered unless writer
submits through the submission form on website. NOTE: SCI-WRITE
accepts submissions only from subscribers. Subscription is free.
RIGHTS: "We purchase 1st rights only. The piece will be archived
on our website for a period of six months after publication."
PAYS: Per article £5 pounds, or 6 International Reply Coupons
(IRCs), or advertising space, based on writer's choice. Pays one
week after publication. RT: "Queries are often answered within a
few days. Writers who have submitted articles online and have gone
through the proper channels will receive an e-mail within a week
with a definite decision on publication/rejection. If you have
submitted through the wrong e-mail address we will inform you of
the error and instruct you on how to submit correctly, but will
not consider your ms. Any submissions sent to the editorial
address will not be read." TIPS: "We are seeking and welcoming
informative articles about science fiction, fantasy and horror
and their relevance to the technological age and the writer. Also
considered are 'the craft of writing...' type articles. We do not
require articles on general writing subjects -- only the fantasy
genres. We are not seeking 'How To' features unless written in an
original and apt manner. Off-beat approaches are welcomed. Humor
elements are fine, but don't let the humor detract from the point
of the article. We seek snappy titled articles that do not drone
on. Topical pieces are not recommended as it may take a few months
before your work is published. If you wish to submit something
topical please e-mail with your query. We receive many formula
submissions that have been covered several times before. The
second issue of the e-zine did not include an article, simply
because I didn't receive submissions right for the e-zine."
URL: http://www.springbeachpress.freeserve.co.uk/
GL: http://www.springbeachpress.freeserve.co.uk/guidelines.htm
Submissions: .../article_submission.htm
E-mail: sian@springbeachpress.freeserve.co.uk
**-----------------------------------------------------**
PASSIONFRUIT
Editor/Publisher: Michele Jin
2917 Telegraph Avenue, PMB 136, Berkeley, CA 94705;
(510) 595-5522
PASSIONFRUIT is not a travel guide, but a forum where women share
journey tales and discuss global issues. "This magazine is for
women who recognize that a journey is more than a vacation, it is
an opportunity to challenge our beliefs and expand our minds." See
Mission Statement on website. FREQ: Published quarterly in
December, March, June and September. CIRC: 5,000. NEEDS:
Currently accepting submissions for all departments of the
magazine. Departments include: Sojourners (First-person
perspectives from women travelers); Encounters (Profiles of women
we meet along the way); Reflections (Going solo and other travel
considerations for women); Wrong Turns (Tales of adventures gone
awry); Earth Mothers (Celebrating children as travel companions);
Rites of Passage (Traveling in times of transition); Nesting (A
look at options for living abroad); A Woman's View (Stories told
through art and photographs); Trailblazers (Stories that honor
early women travelers); Exploring Tourism (Investigations of
travel-related issues); Creative Journeys (Fiction and poetry
about women around the world); Reading For The Road (Book reviews
for the worldly woman); Worth Repeating (Quotes about travel).
LENGTH: 1,500 to 4,000 words for feature stories; 100 to 2,000
words for departments. RTS: Usually buys First Serial Rights to
articles, with the right to excerpt the articles on the Internet
for promotional purposes. Also asks writers to keep their stories
off the North American serials market for a period of one year
following publication in Passionfruit, "simply to keep my content
as fresh as possible. Beyond that, all rights belong to the
author." PAYMENT: On publication. $20 to $100 for stories,
depending upon length. $10 to $25 for photos and illustrations,
$75 for cover art. RT: Deadline for finished mss is three months
prior to the date of publication. Work may be submitted early,
but final selections will not be made until the deadline has
passed. SAMPLE COPIES: Back issues are available for $6 or
available on newsstand. SUBMISSION: Prefers writers submit first
stories on spec, may make exceptions for experienced writers.
Finished work may be submitted for consideration. Will review
written queries and help shape the direction of stories if
needed. Queries should be specific about the story you are
proposing. See the "Nuts & Bolts" section of guidelines. Work
may be submitted by regular mail or e-mail. When submitting work
via USPS, send only a double-spaced hard copy. Do not send
floppy disks. Send e-mail submissions as attachments, formatted
as plain text or as MS Word for Windows documents. Put all
contact information on the submission itself -- not just in an
e-mail or on cover letter. Include name, postal address, e-mail
address, phone and fax numbers. Photos and artwork sent for
consideration should include a SASE. Slides, negatives or prints
may be submitted in black and white or color, but final output
will be black and white. Do not send electronic images on disk.
TIPS: "We are not looking for typical tourist tales or tips.
We're looking for great storytelling, and we hope to find
thought, honesty and sensitivity in whatever you submit." (JE)
URL: http://www.passionfruit.com
GL: http://www.passionfruit.com/submissions/submissions.html
E-mail: submissions@passionfruit.com or
michele@passionfruit.com
**-----------------------------------------------------**
GRIPPED - Canada's Climbing Magazine
Editor-in-Chief: David Chaundy-Smart
P.O. Box 219, Station P, Toronto, Ontario M5S 2S7;
(416) 927-0774; Fax (416) 927-0196
GRIPPED is Canada's first climbing magazine, covering all aspects
of technical climbing, gym climbing, cragging, ice-climbing, big
walls and mountaineering. Gripped is interested in Canadian
climbers and climbing in Canada, and climbing pursuits elsewhere
by Canadians. FREQ: Published six times a year. CIRC: 15,000.
NEEDS: Articles and photos from Canadian climbers in the
following categories: Feature Articles (1,500 to 2,000 words) --
Any subject dealing with climbing. "Writing must be excellent and
should cover an especially interesting aspect of climbing."
Departments: "Gripped News" (200 words) covers new and notable
climbs in Canada and reports on Canadians abroad. "Northern
Faces" (200 words) profiles important or interesting people in
Canada's climbing community. "Aurora" (500 to 1,000 words)
focuses on items of interest to new climbers, such as safety
techniques, climbing procedures and articles on movement and
training for beginners. "The Mill" (500 to 1,000 words) provides
climbers with detailed and up-to-date information on training and
technique. "Due South" (500 to 1,000 words) covers Canadian
climbers in foreign areas and should include descriptive
information about the area with photos, maps, seasonal, camping
and general travel information. "The Rack" (500 to 1,000 words)
reports on field testing of new products for climbers. "ISO" (200
to 1,000 words) reports on news for indoor climbers. "Native
Stones"(1,000 words) covers climbing areas in Canada and is a
resource for climbers seeking interesting areas in Canada.
Looking for mini-guides that provide descriptions, maps, topos,
routes, references to guidebooks, photos, etc. "The Route" (500
words) covers single climbs or small cragging or bouldering areas
for their history, quality or difficulty. "Historic Lines" (200 to
400 words) covers historic incidents, climbs or an era in Canadian
climbing. "Review" (200 words) reviews books, videos and film
pertaining to climbing. Recently published materials preferred.
"Northern Exposure" is a photo gallery featuring photos that
cover all disciplines of climbing. RTS: Buys first time rights
for a single issue of the magazine, with web rights sometimes
purchased for some news items. RT: Allow a minimum of four weeks.
PAYMENT: Payments will be made on date of publication. Pays up to
$200 for features and up to $175 for accompanying photos; see
photo rates. "Gripped News" pays a small amount for photos and
news of particular note. Department pay rates range between $50
and $150. See photo guidelines on website for photo rates. SUBS:
All submissions should be sent in hard copy with an IBM disk, text
saved in Rich Text Format. Do not submit articles via e-mail
unless instructed to do so. (JE)
URL: http://www.gripped.com
GL: http://www.gripped.com/Contributors/
E-mail: dave@gripped.com/gripped@gripped.com
Please send market news to Sal Towse, towse@inkspot.com.
*****************************************************************
Ask the Experts
---------------
*** Please put "Inklings question" in the subject header. ***
Judith Bowen (ROMANCE WRITER) judith@judithbowen.com
David Breeden (POET) dbreeden@schreiner.edu
Tracy Cooper-Posey (E-WRITER) tracy@sashaproductions.com
Charles Deemer (SCREENWRITER) charlesd@inkspot.com
Mark Fowler (LAWYER) askthelawyer@inkspot.com
Ginger Knowlton (AGENT) agent@inkspot.com
Michelle West (SF/FANTASY WRITER) Michelle.Sagara@sff.net
Lee Wardlaw (CHILDREN'S BOOK WRITER) lee@inkspot.com
Marcia Yudkin (FREELANCE WRITER) yudkin@inkspot.com
Columnists may be unable to reply privately to every message,
but will answer selected questions in future issues of Inklings.
Please keep your question BRIEF and send it to *one* columnist.
*****************************************************************
ASK THE SF/FANTASY WRITER
-----------------------------------------------------------------
by Michelle West <Michelle.Sagara@sff.net>
Should I write for non-paying markets?
--------------------------------------
Q: The beginning writer is often in a bind, as many publications
won't accept works from first-time authors. Some markets don't
pay for your stories, but explain that it's a good way to get
exposure. Many of these are struggling fanzines that simply
can't afford to pay both printers and writers. If my ambition is
to someday be paid for writing, is this a good first step? Is it
better or worse than a writing contest?
A: I don't actually know of a publication that will not accept
works from first-time authors, although because of the number of
writers out there, competition for space in any of the better
known magazines can seem quite fierce.
If EXPOSURE is what you want, giving the rights of a story to a
magazine that can't afford to pay you is unlikely to bring much;
the number of people who will see the work in question is quite
low. You are better off honing your craft, and continuing to
submit to the markets you hope to eventually be published in.
There are many reasons for donating your work to non-paying
venues, but a hope for exposure and a wide audience shouldn't be
one of them.
A writing contest, such as Writers of the Future, has some value
for two reasons: it pays money, and it does garner some attention
from the field in general; many of the authors who are writing
and publishing novels have been quarter finalists, finalists or
even winners of that award, and if I were to choose between the
two, I would go that route.
That said, I'd like to take this opportunity to do something I
don't think I've ever done in this column: I'd like to plug a
recently published book which is actually completely On Topic,
even though it means no one who reads it will write to me with
any more questions:
The Complete Idiot's Guide to Publishing Science Fiction
by Cory Doctorow & Karl Schroeder (Alpha Books)
Doctorow and Schroeder have crammed more useful bits of
information into this how-to than most of the "how-to" books I've
skimmed through in the last, oh, ten years. In an informative,
informal and completely approachable style, they lead a beginner
who wants to write Science Fiction for publication from the
beginning of the process to the end.
A lot of books do that -- but this one does it WELL.
The authors don't assume that you already know how to write; they
don't assume that you already know much of anything -- and
because they don't, they cover a lot of things that are often
taken for granted by those of us who have been around for long
enough that we've forgotten the rocky bits at the beginning.
Better, it's up to date; the publishing world of 10 or 15 years
ago is not the same as the publishing world now, and they begin
by explaining what those differences are (which is some of the
gloomiest reading in the book, but also some of the most
informative).
Chapter 14, short story markets, would be particularly useful to
many of the people who e-mail me, because the most common
questions I get, by a margin of about ten to one, is "Where can I
send this story?" Schroeder and Doctorow answer that question in
the same way they answer most newcomer questions: They give you
the facts and spice it up with personal experience and
observations that you would usually get only if you managed to
speak one on one with an author, but rarely see in print.
I had a blast reading it, and I'm sure I sprained muscles from
nodding too vigorously.
**-----------------------------------------------------**
Michelle West is the author of The SACRED HUNT and THE SUN SWORD
series (both published by DAW books), as well as many short
stories; she published the four-novel _The Book of the Sundered_
under the name Michelle Sagara. She also writes a quarterly book
review column for The Magazine of Fantasy and Science Fiction.
At the moment she is hard at work on SEA OF SORROWS, which is the
next volume in THE SUN SWORD.
Copyright (c) 2000 Michelle West
*****************************************************************
WRITING FOR CORPORATE CLIENTS
-----------------------------------------------------------------
by Tina L. Miller <tina@tinalmiller.com>
Many writers overlook a potentially lucrative opportunity in
their writing endeavors: business writing for the corporate
client. Business executives, CEOs, and company presidents all
over the country need fast, efficient, and articulate writers for
a variety of projects, from writing proposals and daily
correspondence to website content and ghostwriting articles and
books for trade publications under their names.
How do you break into corporate writing? It's not all that
difficult, if you have some other transferable skills from
previous positions to complement your writing skills.
Identifying Your Skills
-----------------------
First, examine your strengths. Are you good at composing the
words for what other people want to say? Do you have a gift for
"translating" technical mumbo jumbo into everyday language? Do
you find yourself frequently editing other people's work and
helping them "fill in the blanks" when they are at a loss for
words? If so, chances are you'd be good at this type of writing.
Do you have any technical expertise based on previous positions
you've held? Perhaps you worked for an insurance company, a law
office, a wholesale company, a retail store, a physician's office,
or a manufacturer in the past. If so, you're probably quite
familiar with the terminology regularly used in that line of
business, and this gives you an edge. Concentrate your marketing
efforts in the areas you're familiar with first. Market yourself
as a specialist in writing for clients in those industries.
Maybe you know how to do specific things in your industry and
you'd be good at writing how-to articles or manuals teaching
others to do the same thing. For example, do you know HTML? Then
you can write training manuals for employees who need to use HTML
in their jobs. Did you work in manufacturing?
Or, perhaps you can write instructions to accompany specialized
products. Did you work in a medical facility? Then you might be
qualified to ghostwrite medical articles for physicians looking
to get published in healthcare trade publications.
Selling Your Skills
-------------------
Take a look at work you've previously performed in various
fields. Did you write reports for your previous employer? Help
draft letters or memos for your boss? Type proposals in your
former position? Dig up samples of work you've previously done --
just make sure it's YOUR work, not someone else's or the company's
as a whole -- and put them into a binder in protective sheet
holders to create a portfolio of your work samples. Show your
portfolio to prospective clients.
Check out some of the Internet sites that let you post your
resume or an advertisement for your services online. Write an
appealing resume or ad that hones in on your skills in your
specialized areas and post it. My very first corporate client
found my ad on the Internet when he did a search for writers. In
addition to my writing skills, my background in certain specific
areas landed me the job.
Put together a freelancer's profile at sites like guru.com and
ants.com that can match you up with clients looking for writers
with your areas of expertise. Bid on jobs at sites like
elance.com, but don't get your hopes up too high. There's a lot
of competition for each posting.
Don't sell yourself as a writer who can write anything. No one
can do anything and everything. Pick your strengths and your
areas of expertise and focus on those. Look for a niche market
and find where you fit in -- the kind of writing you do best and
enjoy the most.
Tell everyone you know what you do. Talk to local businesses in
your area and send copies of your resume with samples of your
writing to business owners near you. Respond to advertisements
for writers in your field.
Consider joining a professional writers' organization like the
National Writers Union. They can put you in touch with clients
looking for your skill set through job hotlines and other
services. It costs a bit to join, but it's a good investment
in your future success and generally pays for itself rather
quickly. I've landed several freelance contracts through my
membership in writers' organizations, and though some charge a
percentage as a finder's fee, I've found it to be worthwhile.
If you have the time and talent, create a website highlighting
what you do. It seems like most businesses these days have a
dot-com after their names, and it adds credibility. Remember to
focus your website on attracting clients in your niche market.
Presenting a Professional Image
-------------------------------
Conduct yourself like a professional. Make sure your resume,
advertisements, and e-mail or snail mail correspondence is
professional and error-free. Use letterhead and professional
office supplies. Make sure your work is smudge-free, fingerprint-
free, and looks like it came from a "real office." You may even
want to develop a business name or logo.
Keep track of your income and expenses so you can file the
appropriate tax forms and report your financial information
accurately.
Focus on providing your clients with the best service possible.
Ask for deadlines and always, always meet or beat them. Never
promise something you can't deliver. Be confident, but don't take
on more than you are capable of completing in conjunction with
your other responsibilities and obligations. Never let a client
down. Never blow off a client or potential client.
The best thing about my corporate clients is the networking. Most
of my current corporate clients are the direct result of the
great job I did for my first client. He bragged about me to business
associates and now I'm writing for them, too!
Writing for corporate clients doesn't always give my ego the same
boost I get from seeing my byline in print in a magazine or
newspaper. But my clients are pleased, my business is taking off,
I'm working from home, and I'm doing something I enjoy. In between
my corporate clients, I squeeze in time to write the motivational
and inspirational articles and essays I love. That writing
provides an outlet for my creativity and usually generates a few
extra bucks each month. The key is, I don't have to choose one or
the other. I can be a business writer and a creative writer. Along
the way, I become a lot more prolific, learn to manage my time and
projects better, and continue to increase my income. Business
writing for corporate clients is a great addition to running a
successful writing business.
Places to post resumes or look for jobs:
----------------------------------------
http://www.freelancewriting.com
http://www.guru.com
http://www.ants.com
http://www.elance.com
Related articles on Inkspot:
----------------------------
Corporate Writing: How to Break In - by Peter Bowerman
http://www.inkspot.com/feature/bowerman.html
**-----------------------------------------------------**
Tina L. Miller is a full-time freelance writer who writes website
content; business communications; articles for newspapers, ezines,
and magazines; and other corporate writing. Between corporate
gigs, she writes inspirational and motivational pieces, parenting
and relationship articles, and self-help material. She lives in
Merrill, Wisconsin, with her husband and two children. Learn more
about her at http://www.tinalmiller.com.
Copyright (c) 2000 Tina Miller
Would you like to reprint this article? If so, please contact
Tina Miller <tina@tinalmiller.com> for permission. Inklings
grants permission for reprints in any medium if and only if
permission is granted by the original author.
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INKSPOT WRITERS' CHAT CENTER UPDATE - by Shane Stacks
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NEXT CHAT: AGENTS 101 with CHAS MELICHAR
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Join CHAS MELICHAR, Theater Editor for the Robins Agency, for a
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agents -- and how to make sure your submission doesn't end up
in their circular file!
NEW MONTHLY CHAT: "Freelancer's Forum"
Host: Rusty Fischer (RustyF)
Every 3rd Monday at 8 p.m. EST
Set your freelancing writing career free while gaining tips,
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A TRANSCRIPT is now available for SUSAN K. PERRY, PH.D.'s
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NOTE: The Inkspot chat room now has several main rooms for your
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DISCUSSION FORUMS: Join this growing community of writers!
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