Werk It (March 2020)

SEASON 5, EPISODE 1:

It's an oldie but a goodie! We're currently releasing episodes at a slower cadence and re-sharing some old favorites. In this 2020 episode, Jenni and Wudan address the question they get asked most frequently by aspiring and full-time freelance writers alike: How and where do you find good freelance writing assignments?

They share their favorite methods for finding work, tips and tricks for cold pitching, how to network in a non-sleazy way, why it's necessary to maintain good relationships with staff editors, how to use full-time job boards to find freelance work, and why shameless self promotion is an absolute must-- especially when you find yourself with time ahead and no work on the calendar, or when money is tight.

Full Transcript Below:

J- Hello, and welcome to The Writer’s Co-op, a business podcast for freelance writers everywhere

W- We’re your co-hosts! I am Wudan Yan

J- And I’m Jenni Gritters

W- This week on the podcast, we’re going to answer the question we get asked most frequently by aspiring and full time freelance writers: How and where do you find assignments?

J- Honestly, I think this is the question I get asked by nearly everyone who reaches out to me about my job. People want to know where we find work because obviously that’s key to building a sustainable freelance business… and while there’s no set answer, I think we do have some good tips and tricks for finding gigs that work for your schedule and interests.

W- Let’s start by talking about a typical month of work for each of us, and where we found that work. Jenni, what’re you working on?

J- Well, i’m currently on maternity leave so right now im working on... taking care of a baby, haha

W- Oh, yeah, so, between when we recorded our first couple episodes, Jenni had a baby. 

J - Surprise! He’s the best. But here, to answer that question I’ll tell you about the month before I went on leave because it was pretty typical. I had one copy editing client. I log about 10-15 hours per week for them, usually. Then I wrote three blogs for a local university’s medical center at $500 a pop, and had a few stories to finish up for another steady client (a retailer with a publication). They have me on retainer to write at least three feature stories per month about human health and the outdoors. And I finished up a longform product review and a science-focused piece about the maternal brain for a few mainstream publications. What about you? What’s on your roster this month?

W - We’re recording this in January so I have 3 weeks of travel for reporting planned for two separate stories. I am sprinting towards that and getting my ducks in a row. The past few weeks, I’ve been inundated with three feature fact-checks for three different magazines. Aaaand I have two stories due next week - both short-features. One’s a Q&A so it makes the ‘writing’ a bit less painless. God, having all that said out loud just sounds exhausting! 

J- Can you tell us how you found each of those gigs?

W- For the three fact-checks: I’m a regular fact-checker for two of those publications, and the third fact-check, I got through a referral. The two pubs I regularly fact-check for… one of them is a magazine that I started off writing for. When I realized they used fact-checkers, I dropped their research editor a note being like “hey! By the way…” The other regular fact checking client, I got through a referral. So that’s all my fact-checking work.

The Q&A I’m working on is for a publication I’ve had a relationship with for a while -- I actually started off fact-checking for them. And the other is a news feature for The New York Times science desk, which I’m a contributor to. I started writing for the Science desk because… I was recommended to the editor. I try to be humble about this AKA NOT TALK ABOUT IT, but that’s basically what happened.  

What about you? Where did you find the assignments for your last month of work?

J- I found my copy editing client through an old coworker of mine. I met up with her a while back and she mentioned that she was doing some copy editing work, so I asked her to keep me posted if that client ever needed extra help. Then, when I followed up via email a few months later, she connected me with the hiring manager and he hired me! 

The blogs I write for that local university came to me through a mutual connection, too. I’d reached out to a woman who worked there to do an informational interview back when I got laid off, and she connected me to her boss, who assigned me some freelance stories after we’d talked about full time job openings (which I didn’t want). 

The client I have on retainer is one I’ve been working with for a few years, but the editor there reached out when they heard (through another former colleague) that I’d been laid off. She asked if I wanted to help them build content, I said yes, and that relationship has evolved into a contributing writer set up. And then the product review is for a place I used to work (yes, the very place where I was laid off!), and the maternal brain story happened because I posted on social media saying I wanted to write more about parenting this year, and a former colleague recommended that I pitch an editor she knew, and that editor said yes to my third pitch (which I sent via email after an introduction from that former colleague). So you can see-- my work comes mostly from personal connections and -- ahem-- “networking,” and some (but not much) cold pitching.

But okay Wudan, this is a big question, and one that I know we’re planning to address later on in a full episode, but we should talk about it a bit now since it seems relevant: What do you think of networking? Because I think you’re really good at it, but I also know you kinda hate it!

W- Yeah, uh… what even is ‘networking...’ because networking doesn’t necessarily mean deliberately seeking out editors. That, to me, feels gross and transactional. Networking to me really is relationship building. And that can be with other reporters, other freelancers, or editors. Other freelancers can help send along editor contacts. Other reporters can also help make connections with editors. 

At the end of the day, it’s about building relationships, and that’s what I want to call it: relationship building. I want editors to know how I think, and what type of work I enjoy, whether it’s a type of story I like to do so that they might think of me when they are in a position to assign stories, and how I think! 

J- Yeah, I hate networking in the traditional sense, too... like the kind of networking where you walk into a room full of people you don’t know and have to make awkward conversation just for the sake of trying to get something from those people. That’s my purgatory. But I guess I do network in my own way by connecting with people whose work I genuinely like. And because of the nature of media and everyone getting laid off at one time or another, I have lots of former colleagues working at lots of different publications, which makes for an easier “in” instead of cold pitching. If I can find someone I know who works at a place I’d like to write for, that’s always better than a cold email.

W- Yeah, on a daily basis, I “network” and keep up my relationships with people by … being on Twitter? But I don’t build “being on twitter” into my schedule in any way. It’s like, the ten minutes that I have between calls, or coming back from walking my dog and before answering emails, or whatever

J- Same. Like if I see on LinkedIn that someone I know has switched jobs or is now working for a publication where I could be helpful, I send them a congrats email and ask if they need any writing or editing help. And I don’t just do it to do it, I’m genuinely excited about the prospect of working with them again! I also still email people in my network every so often like I did at the beginning of freelancing, especially if I find that I have a gap of time to fill. My emails in that regard are short and sweet: “Hey, I hope all is well. I have a chunk of time coming up at the end of August during which I could take on three more articles. If you need writing help, let me know!”

Oh and I sometimes respond to calls for pitches on social media, but I feel like that nets fewer overall assignments. Probably 75% of my work comes from referrals of people in my network. Thoughts on using Twitter and Facebook to find work, Wudan?

W- I don’t think either are particularly good to find consistent work, but I see on some Facebook groups or Tweets editors putting out calls for pitches. I love that. Really helps gets the word out.

J- I’m in a lot of Facebook groups for Pacific Northwest media and communications people, and women and nonbinary people who write, and I typically send maybe one email each week responding to people who’ve posted saying they need writers and editors. Only if I have some free time in my schedule, though. And I can only think of a few times where cold pitching someone from social media actually worked for me… once, I responded to a woman who needed someone to write embargoed science news stories for a health publication. I still do that occasionally but it doesn’t pay super well. And once I emailed a woman about health pitches for a Medium publication, based on a call for pitches, and that eventually led to a column… but I had to send probably 10+ pitches before one was accepted! So the time required there was maybe not worth the actual, eventual assignment.

Wudan, do you ever cold pitch editors anymore?

W- Ha! Yes. I mean there are so many editors in this ecosystem that at some point, I’ll have to cold pitch. I mean, again, I’ve been doing this six years and I know most of the editors at the pubs I’d want to work for. And I like to hope that my name is not at least completely foreign to them, were it to show up one day in their inbox. I think it’s so important to be good at cold pitching. Sometimes I cold email editors and ask them out to coffee! 

J- Ohh, tell me more about that. Why coffee over a call or email? What happens during those chats?

W- Usually those are editors at publications that I’m super interested in writing for. And that’s what I say in my emails when I ask them to coffee: I’d love to learn about what you’re looking for from freelancers for your publication. Like I said earlier: I want editors to learn how I think. What stories get my attention. Is there any overlap in what gets my attetion and theirs? It’s so much easier to gauge interest in person. And sometimes I’d just be spitballing ideas and they’d be like “interesting… want to pitch that to us?”

J- I think that’s bold, and love the idea of connecting with people in person. It makes a big difference for the relationship, and is a good reminder that both of you are real people. If I’m gonna cold pitch, I do have an email template I use, especially if the person is looking for someone to do steady work. I’m like Hi, my name is Jenni Gritters and I'm reaching out because I saw that you posted in XYZ Facebook group or on Twitter about needing help with X thing. I'd love to be considered. Then I include a short bio about me with a link to my personal website and direct links to three clips. And that’s it! It’s pretty effective… I usually get an email back, even if the opportunity isn’t a fit. We’ll include that little template in this week’s newsletter, if you’re a Writer’s Co-op member.

By the way, if I’m sending a cold pitch, I keep it to three paragraphs. I was an editor for years at Upworthy and I know how little time editors have. It’s gotta be short, sweet, and interesting. We’ll get into that issue of a good pitch in another episode, because that’s another much-asked-about topic… but the bottom line is, be concise!

Okay, so let’s talk about finding recurring gigs, or working with an editor on multiple assignments. I always consider the first assignment to be a “trial” for both of the client and myself. Do I like working with them? Do they like working with me? If the answer is yes, I’ll pitch the editor again once I’m in final edits on my first piece. Eventually, my pitches can be more casual because the editor knows me, and I think that ongoing relationship is a best case scenario for freelancers, both for stability and for growing skills. 

Wudan, how do you get back in touch with an editor when you want to work with them again?

W- Well, you sort of talked about this earlier, and I’ll totally echo that. When I have gaps in my time, like if I’m home for an awkward week between trips or something, I’ll let editors who I have ongoing relationships with know about my availability. I’ll be like “it looks like I’ll have some time this week to help with X. Might you need an extra pair of eyes on anything then?” I feel like framing things as a question invites an answer, versus something like “Please let me know if I can help.” I feel like psychologically speaking people are like, wellllll I don’t need any help so no need to reply! 

J- Agreed! I usually frame my emails in the same open ended way, and it works well since I know the editors I’m emailing when I have those blank spots in my schedule. I think they trust me. Even if they don’t need help, they usually respond to tell me that. It’s because we have a relationship.

W- As for publications I pitch a second time, I’ll just pitch them. But by that point I’ve already developed a relationship with that editor, right? I always opt for the soft pitch first, which is super low stakes, “Hello [EDITOR], I’ve started investigating a fascinating story about XYZ topic. IS this something you’d be interested in covering for your publication? If so, I’d happily put together a fleshed out pitch for your consideration.” 

J- Yes, I love that because it means less time and work for you unless they are interested. You’re not building pitches out for an editor who might not want them, which I think ends up being one of the biggest time sucks for freelance writers because building pitches that haven’t been accepted is unpaid work. 

W- Yup, hard agree. Some of my pitches are like, a paragraph. Or even better, a sentence with a link to study or whatever.

J- Okay another thing I’m often trying to teach people is that you should look for work in non-traditional places. Yeah, big bylines are great sometimes. But what pays best? Niche publications, and magazines associated with brands.

W- THIS IS WHERE THE MONEY’S AT. I keep telling people this, I have no idea if they believe me or not. But rates in journalism are not on the up and up. If you want to up your hourly or project rate consistently, non-journalism clients are where to go. My biotech client, my trade publication client, and institutional clients give me the best bang for my buck. My hourly rate with those clients really compensates for the lower hourly rates with journalism publications. Does that square with your experience?

J- Totally. My most lucrative clients are associated with brands. I am still making journalism for them-- and I’m careful about the ethics of working for a brand. For example, I’d never write a story about the brands I work for. Once I’m on their payroll, they are off limits as story sources or subjects in the future. And I’ll never compromise my journalistic integrity just to make a marketing ploy. For example, [story about client who wanted me to only use their experts and their data as sources]. That was a clear no-no. But it’s not impossible to find brands that offer opportunities to do good journalism. Some of my best work is for university magazines! And it pays well, usually $1/ word or more. So consider looking in lesser known places for people who need content.

W- I think that kind of covers where we find work. The big take aways here are: One, figure out who you know and use them as a way in. Does your friend work at a start-up that might need help starting a blog? Does your former coworker work at a magazine where she could connect you with the assignments editor? Does your childhood best friend work in the marketing department of a university? All of these people are links to possible work opportunities. But also, create your own opportunities -- and don’t be afraid to do so -- if you’re really chasing after something. 

J- Two, networking doesn’t have to suck. It simply means keeping in touch-- and expressing genuine interest-- in the work of people you respect. It’s relationship building. Then, if an opportunity comes up to work together, it’s just part of a continued conversation. Media is a small, small world.

W- Three, tell people when you have open availability. You shouldn’t just expect work to drop into your lap… you’re going to have to go find it most months, so consider ways of reaching out that are efficient and brief. You might even want to keep a list of the people to reach out to if you find yourself with a few weeks and no assignments ahead.

J- Four, you can use online groups to find calls for pitches, but the net gain for your time may be low. If you are going to send pitches, don’t spend all your time looking for work this way. Give yourself a few hours each week to send pitches, but spend more energy thinking about how you can use your own network to find gigs that are consistent.

W- Five, the ideal situation is to build relationships with editors who trust you, so you can make more casual pitches and they’ll think of you when they need to make assignments. You can do that by being polite, direct, brief, and easy to work with, and creating high quality work. Also, not every client will be a good fit for you. Make the first assignment an experiment, then decide if you want to work together.

J- Six, look for work in places where you might not expect to find it. In other words, as one of my old editors used to say, zig where everyone else zags. University magazines, magazines run by brands, airline magazines, and trade publications can offer high rates and allow you to do some stellar journalism. Companies also often need written work, like blogs, press releases, or marketing copy. Wudan even provides media training to scientists!

W- And finally, don’t keep all your eggs in one basket. Look for work in many different places, and try not to focus too much on one client.  We’ve both lost clients when an editor switches jobs, or when company priorities change. If you’ve dumped all of your focus into that one client, it’ll destroy your bank account. Oh… can I share a secret?

J- Are you kidding, share away.

W- It’s probably not a secret, but it’s a way that I’ve learned to be super resourceful. So, sometimes I’ll look at job boards. Never with the intention of applying for a job, but I look at job postings for communications managers at different publications. Nonprofits, biotech, institutional publications. And I look at their job duties. And I look to see if they might have responsibilities that include working with freelance writers. If they do -- and if it’s an organization that I might be interested in working with -- I reach out to someone at there and see if they might need help. It’s hit or miss, but totally worth a shot for gigs like that, that are well publicized

J- That’s so smart!

W- Honestly I think a lot of people hold a lot of anchor writing clients close to their hearts. It makes total sense. It’s kind of the unfortunate reality of freelancing: one way to think about it is that all other freelancers are your competition. I’m not saying I think this way, but I think some people do. So once you land an anchor client, one with a fixed amount of money in their budgets -- like everyone else -- some people might want to share their contacts there. Does that make sense? Again, I hate this mindset, I try to have an ‘abundance’ mindset as much as possible with this kind of stuff, BUT… I think the really big take away from all of this, is that you can find your own opportunities. Go where no other freelancer has gone before!  

J- I don’t think I’ve heard that before, but I like it. As I always say, the magic is in the mix. Make sure you have lots of different balls in the air. Then if one drops, it won’t be too much of a disaster.

W- I keep telling my parents who wish I became a doctor or lawyer that I have so much more job stability because if one of my clients go down, I still have another half dozen or so in the bag. 

J- Agreed, this is why I’m always saying that I feel more stable as a freelancer than I ever did in a media job where layoffs are constant.

W- Also, this is where the hustle comes in… it can feel like a lot to reach out to people while you’re working on stories. 

J- Yeah, I try to carve out a bit of time each day, just 30 minutes or so, to look six weeks ahead and see if I have any gaps coming up. If I do, I’ll reach out to people in my network and maybe send a few pitches. If not, I just keep working.

W- I pitch when I see my feature-well drying up like, a month or two from when they will actually dry up. I mean, that’s what I mostly try and focus my creative energy on, but it’s not always possible. To be really honest, I don’t bother pitching shorter things. It doesn’t make financial sense for me. Plus, the risk of cold pitching, especially a publication you haven’t ever worked for, is getting screwed over. Whether it’s an excruciatingly long edit process, or the publication pays late… that’s not worth it to me. I’d rather stick with the rotation of clients that treats me well! 

J- You’ll also inevitably get rejected when you reach out to people asking for the opportunity to work together. My old professor used to say, you cry the first time and then you get over it. That’s journalism. And it’s true. I feel like I’m almost immune to rejection now, because I’m so used to it. I don’t take it personally anymore, or at least not very often. There’s a lot going on at media publications-- like overworked and underpaid editors trying to manage small budgets and hundreds of pitches per week. I’ve been that editor!-- And when your idea or your pitch gets rejected, it’s likely not about you! So keep going.

W- Yeah, you have to keep moving. I will say getting pitches rejected used to help me a lot when I was dating. VERY TRANSFERRABLE SKILLS!

J- Accurate! First dates are so much like job interviews, haha

W- Anyway, a lot of the success we’ve both had is just about steady forward momentum, even if one project doesn’t map out. Right now I’m working on a story that I pitched in 2016!! I wish I was kidding. I’m not. Sometimes it takes a long, long time for a story to find its right home.

J- On that note, we’re going to head out. But if you haven’t already, please consider signing up to support us on Patreon, which will give you access to worksheets and exercises to help you get moving on building a freelance writing business that makes you good money and supports the kind of life you want to build.

W- And as always, if you have questions or comments, or things you want us to investigate, please reach out via email! 

J- Yes, email away. I’ll see you next time, Wudan!

W- Bye, Jenni!