And another post from the Diapers to Deadlines archives! Oh, by the way, if you’re going to be in–or can get to–the NYC area on April 12, why not consider registering for the ASJA Conference? I’ll be speaking on a panel called “Full-Time Income, Part-Time Hours”.

Okay, back to the post, in which I answered the following question:

I keep reading about these e-mailed pitches that get accepted "immediately." Well, after 4 weeks I haven’t heard a peep about mine. Do I assume the editors didn’t like them? Follow-up on them? It’s frustrating to read about how great e-mail is for pitches and then not get a response, leaving me to wonder if I know what the heck I’m doing.

Thanks,
Lonely Inbox

Dear Lonely:

I am a fan of the e-mailed query. Though it does frequently take a while to hear anything back–and sometimes, you never hear anything back at all–it is far preferable to the responses I got during my short-lived period of only sending snail mailed queries (read: a handful of form rejections and no response at all to the vast majority of my queries, despite my care to always include a self-addressed stamped envelope.)

Do e-mailed queries guarantee immediate responses? Absolutely not. But in most cases, an e-mailed query is superior in several ways: first, the message is far more likely to get to the editor you’re targeting, rather than a slush pile on an intern’s desk. Second, if the editor likes your idea, he or she CAN respond immediately. This doesn’t always, or even usually happen. More often, he or she has to think about it, figure out if he has space for it, or pass it around to colleagues. But IF the editor is in an assigning mood and your query comes across at JUST the right moment, the opportunity is there for near-instant gratification. Third, if the editor DOESN’T like your idea, you are far more likely to get a prompt response with a rejection, and you can use that opportunity to pitch again quickly. Because of the ease of e-mail, you may even find that editors are more willing to give personalized feedback in their rejections.

But along with all this possibility comes an increased sense of frustration when you don’t hear anything back right away–or at all. You send off a query before lunch, and during lunch you wonder if they’re reading it. Maybe due to the magical speed of the Internet, you’ll have an acceptance in your inbox by the time you finish your sandwich!

Then the response doesn’t come, and it doesn’t come, and it doesn’t come. You think, "All they would have to do is hit reply, type "no", and click "send"–how hard is that?" For some editors, the answer seems to be "impossibly difficult". There are some editors I have categorized as "non-responders"; they never get back to you unless they want to assign something no matter how many times you follow up. Other editors need a few nudges. For the most part, editors are just like the rest of us–busy people who get lots of e-mail and sometimes lose track of it. Sometimes e-mail doesn’t get where it’s supposed to go–the editor may truly not have gotten it. For this reason, I do recommend following up on a regular schedule (I follow up at between 2 and 3 weeks after a query goes out–no sense leaving it languishing in Cyberspace forever).

I don’t know what has become of Lonely’s waiting queries. She may have been unlucky enough to stumble across a few non-responding editors at once. Following up is a good idea; it certainly can’t hurt. But people whose e-mailed queries are consistently ignored, even after follow ups, may want to ask themselves a few questions:

Don’t give up! The other nice thing about e-mail? It’s free. There’s no need to ponder whether those SASEs are personally funding the mail room departments of all those national mags you so diligently pitched. If you don’t hear from an editor after a few weeks, follow up. If you still don’t hear, you can follow up again or move on. Re-tool your idea to make it perfect for a new publication, and get it out there again. And remember–the best way to keep from obsessing about the fate of the queries you’ve got out is to be querying all the time. There will come a time when you can’t even remember how many you’ve got out at once–and that’s when you get those surprise responses in your inbox. Lonely, I hope I answered your question. Please, ask more–that goes for all of you.

Readers: how "instant" are the responses you get to your e-mailed queries? Have you found any tricks or tips for getting more, or faster acceptances? Please weigh in in the comments!

More freelancing tips from the Diapers to Deadlines archives…

So you’ve read The Renegade Writer–or are just sick of waiting for your SASEs to show back up in the mail–and have decided to give e-mail submissions a shot? Good for you! Make no mistake, e-mail can be a convenient and quick way to pitch ideas and essays, hammer out assignment details or introduce yourself to an editor. But sometimes, the ease and informal feel of e-mail can lead to some less-than-professional behavior. Though you can’t make an editor love your ideas, the least you can do is make sure he won’t be able to find fault with your presentation. So, in keeping with April’s Best Foot Forward theme, we’ve decided to give a few tips for making a good impression on any editor’s inbox:

Be Adequately Formal:

Miss Manners I’m not. You should see some of the e-mail exchanges between Toni and I–sometimes consisting of nothing more than a one-word reply, uncapitalized, with no punctuation. But Toni and I are friends, and our relationship has moved past proper and is now decidedly colloquial.

Contrast that to the pitches I get every so often from PR representatives and expert sources that contain no greeting, no capitalization, and no closing. If those pitches raise the eyebrows of even a Casual Cathy like myself, I can only imagine what a similarly-laid-back query might do to the eyebrows of an editor who values propriety–not to mention punctuation.

You don’t have to copy a business letter’s style–in fact, a return-address block on an e-mail might look a little strange–but at a minimum, any e-mail contacts with someone you’re not on a familiar basis with yet should contain a greeting; proper capitalization, punctuation, and grammar; and a closing. Whenever I can reasonably ascertain an editor’s gender, I use the rather formal "Dear Ms (or Mr.) Smith". I know that some, to be on the completely safe side, prefer to write "Dear John Smith", but to me, that looks stilted and awkward: if I absolutely can’t find out whether Terry, Chris or Pat are male or female, I just go with Dear Firstname (PS: One way to figure out an editor’s gender is by asking writer acquaintances for a tip. For closings, "Best" seems to be a standard in magazine journalism; but "best wishes," "sincerely", or "regards" will do as well. Save XOXO (hugs and kisses), TTFN (ta-ta for now), and CYA (See ya) for your grandmother or best friend.

And while we’re on the topic of cutesy acronyms, please keep in mind that not everyone in the world knows what KWIM, BRB, or ROFLMAOPIMP stand for. Leave them out of work-related correspondence unless you know they’ll go over well. Same goes for smileys–yes, even if your e-mail program lets you do fun variations like the Throwing Up Smiley or Drinking Beer Smiley. Moving on…

Address Success:

Okay, so you really love Scooby Doo. I get it. But an e-mail address like velmalovesshaggy29304@hotmail.com isn’t going to "wow" your editors. It looks unprofessional, and let’s face it–it probably says more about you than they need to know. If you have your own URL, some variation on yourname@yourname.com is great. As for whether free mail hosts are acceptable, I think they’re OK as long as the address looks professional: I’ve had a Yahoo account for years, and have found it more reliable than the various @meaganfrancis.com accounts I’ve had through hosting companies, so I’ve stuck with it. But I’m meaganfrancis@yahoo.com, not ilovemycutiepatootie@yahoo.com. See the difference?

Signing Off:

It’s a great idea to create a signature line containing your contact info (phone number, e-mail address, mailing address, and website URL if you have one–more on that later this month) so that if an editor wants to give you a quick call to discuss an idea or wants to pop a contract in the mail, he or she won’t have to go digging around to find your contact info. The easier you can make an editor’s job, the better your relationship will be.

Don’t Abuse It.

Keep in mind that in many offices, opening unsolicited attachments is strictly verboten. Don’t send ‘em unless you have a working relationship with the editor, and even then, you may want to ask him or her first if attachments are OK. And if you get a request from an editor to send future pitches via snail mail, don’t take it personally–a lot of editors still prefer to work with hard copies. You can decide for yourself whether you want to continue to pursue the editor, but whatever you do, don’t continue to flood his or her inbox with unwelcome e-mailed pitches after being specifically asked not to. There’s a line between being assertive and ambitious–and just plain annoying.

One last thing–don’t expect anyone to drop everything they’re doing to reply to your message. Yes, the lightning-fast speed at which you can carry out conversations via e-mail might make you impatient with those editors who take their time responding. But remember–just because somebody theoretically could answer an e-mail within thirty seconds doesn’t mean they’re obligated to. Wait a while–I usually give it anywhere from a few days to a few weeks, depending on my relationship with the editor–before following up on an unanswered e-mail, and don’t act put out if your e-mail gets missed. Spam folders, itchy delete fingers and slammed inboxes can make the job of keeping up with e-mail difficult, and you’ll make a much better impression with a light, casual check-in than an obnoxious "Didja get my e-mail? Huh? Huh? Didja?"

Using e-mail has made my writing career 100 times easier–and it can do the same for you. Just use common sense and follow the guidelines above and you’ll make a great electronic impression.

Do you have any funny–or embarrassing–stories of e-mail gaffes? Share ‘em here!

Annie said “I’d love to hear more about marketing your work”, so I dragged up another oldie but goodie from the “Diapers to Deadlines” archives.

When non-writers find out that I write for consumer magazines, I often get a response that sounds something like this: "How do you decide which magazines to send which ideas to? They all look the same to me."

Ah, but they really aren’t.

Yes, even I often joke with my sister that all a successful writer has to do is come up with new ways to "walk off the weight". But going beyond a casual look, a reader who’s paying attention can see that style and tone ranges from magazine to magazine or website to website, even if the subject matter is similar and the designs and layouts look almost exactly the same. Are the articles written to "you" or do they take a more formal third-person approach? Or a combination? Are they friendly and casual in tone or authoritative and heavy on "expert" advice? How long are the articles? How many sidebars does each one have? How photo-driven are the stories? Are there regular departments that appear consistently? Are they written by freelancers, staffers, or regular contributors? Does the magazine or website run first-person essays? Two magazines can sit side-by-side on a newsstand, have similar cover lines, similar-looking cover art, and the answers to the above questions could be very different.

That’s why market research is important. Researching a market–whether it’s a magazine, newspaper, web publication, literary journal, or publishing house–to find out what sort of writing they publish and when, is smart business. Not only will you hit the mark more often when you really understand the publication you’re submitting your work or pitching ideas to, but on those times that you don’t make a sale, you’ll at least make a positive impression upon an editor–that even if this idea doesn’t work out, (because: it’s in the works, it’s already been done, they aren’t running articles by writers whose first name begins with "A" that month…) you’ve done your homework, and you understand the publication. Impressing the editor makes it more likely that you’ll get one of those "this doesn’t work for me, but I’d love to hear more from you" responses.

If you’ve read a beginner’s book on freelancing, no doubt you’ve been advised to send away for writer’s guidelines. I have noticed that many guidelines say something along the lines of "reading the magazine is the best way to find out what sorts of things we publish". It’s true. Writer’s guidelines are helpful, but they usually won’t tell you everything you need to know–which editor is in charge of this section and that one? How many words does the back-page essay run? Is there a back-page essay–or any essays at all? How cutting-edge, timely, or "evergreen" (meaning, one of those topics that never really stops being relevant) are the articles?

Similarly, book publishers all have a different feel when it comes to the titles they publish. Some publishers have lots of celebrity titles. Some publish really art-driven books that are packaged in a certain way. Some publish narrative nonfiction, or only serious fiction, or only genre fiction. You’ll get the best feel for which houses are appropriate for your project if you see what else they’re publishing first.

For those working on book projects, getting an up-close-and-personal feel for what different publishers are putting out might mean many trips to the library or bookstore, seeing which other books are out there and who’s publishing them. Magazine and newspaper writers can also utilize the library: many will allow you to check out back issues of magazines and newspapers. Sites like www.mags4cheap.com offer dirt-cheap subscriptions. Or, ask freelancer friends to participate in a magazine or newspaper swap–just tear out the departments you’re interested in and the masthead to avoid paying shipping on page after page of advertising!

So how much reading should you plan to do? All writers have different approaches when it comes to market research. For example, traditionalists may say that magazine freelancers should study a minimum of six months to a year’s worth of back issues before they pitch–the idea being that they’re less likely to repeat an idea that’s been covered recently that way. But in my experience, since magazines assign so far in advance (up to a year; sometimes more), and you can have no way of knowing what’s in the works now, reading a year–or even three year’s–worth of issues is really no insurance against coming up with the same idea somebody else is already working on. Besides, my memory isn’t good enough to retain an entire year’s worth of articles!

I find that my energy is better spent really focusing in on two or three recent issues, looking carefully at these things:

*Tone. Is the language fun, funky, or formal? Are the articles unfailingly upbeat, do they always contain solutions, do they ever end on a negative note? Do the writers use "you" or "I" in the articles? How expert-heavy is the advice given?

*Who’s writing the articles. Check the masthead to find out if editors and other staffers, contributing editors, or freelancers are writing the articles in each section. If a section seems to always be written by an in-house person, it might mean it’s not open to freelancers.

*Article Length. A magazine that doesn’t ever run articles over 1500 words long isn’t going to be interested in my proposal to cover the latest health craze in 4000 words, even if it’s a REALLY good idea. But if I can figure out a way to approach the topic in 1500 words, I might be able to re-slant the idea for another publication later.

*Departments. Are there regular departments, and are they written by freelancers? Do they follow a specific pattern or formula each issue?

*Sidebars and other visual elements. If a publication tends to have very visually-driven articles or routinely uses charts, graphs, sidebars and other breakouts, suggesting them in the pitch might help the editor visualize the way my idea would look on the page.

Once you’ve done the research, what you choose to do with the information is up to you. Some writers pick and choose which markets will fit their ideas, exactly the way they want to write them. Some writers will package an idea differently in order to appeal to different markets. It’s up to you–whichever approach best fits in with your goals can work, as long as you go in armed with enough information to choose.

I’ll admit it: I hate querying. My ideal gig involves a handful of editors at my dream markets having my contact info memorized so they can tap me for stories on my specialties. Or we’d be so familiar that I could send out a simple two-liner describing my idea and land a feature assignment.

Sadly, it doesn’t work that way for most freelancers, at least not initially. And even seasoned pros with solid “bread-and-butter” gigs still have to pitch new-to-them markets.

So if we must query, we may as well enjoy it, right? Learning the art and craft of good query writing will increase our chances of nailing those dream gigs. Plus, it does get easier with time and practice.

Today’s post details some of the basics of crafting good queries, with a seasoning of tasty tips from The Renegade Writer to help you kick it up a notch.

The most important thing to remember about querying is that it’s much more than a request for work: it’s a chance to show off your writing style. If your queries read like a dry cover letter for a resume, you’re not going to get much work. Capturing the style and tone of your target market will show the editor that you’ve done your homework and will make a great fit for their magazine.

One key area where it doesn’t pay to be a renegade: grammar and spelling. You really have to nail this aspect in your queries, and if you need a second pair of eyes to double check your work, don’t be shy about asking. A caveat to this is that if you do make a mistake, don’t sweat it, and definitely don’t write the editor to point out your mistakes after hitting "send."

There are variations on this theme, but all queries should include three basic elements:

The intro – here’s where you grab the editor’s attention. If your first few sentences bore the editor, why should he or she bother to keep reading? You want to engage your reader immediately – remember the phrase, “Life isn’t a dress rehearsal?” Well, your queries should read like a final, polished product. This is the first sample of your writing the editor will see, and your chance to shine. Querying is not the time to be timid or modest!

Not only should you write the intro to your query as your article would read, but it’s also a great idea to cite statistics or use a quote from a source here, too. This shows your editor you’ve done your homework and given some thought to your idea.

The scoop – this is the meat and potatoes of your query, where you let the editor know the scope of your article and include lively quotes and research to make it come to life. Traditionalists advise that no query should be longer than one page, and in general, writers should structure their queries to match the length of the article. But "Renegade Writers" kick this up a notch and consistently nail the sale. Part of this really depends upon the publication and the editor. Some are sticklers for tradition. Others will entertain a 4-page query because it means less work for them in terms of fleshing out and defining the assignment with the writer. The main body of your query is where you sell the idea, or "hook," and share research, statistics, and even quotes from experts or everyday people who experienced things first-hand.

Your intro – this is the least comfortable area for new writers, but if your credentials are thin, don’t advertise it. “Golly gee, I’m a new writer, and I’ve only written articles for my church newsletter but I love your magazine and have dreamed of writing for you for years” is not the way to wow your editor.

First of all, a savvy editor will realize you haven’t written for Better Homes and Gardens and Family Circle when you don’t mention any big names like these in your pitch. But, having thin clips isn’t an automatic deal breaker. In fact, The Renegade Writer discounts the idea that you have to start with smaller markets and earn your dues. Second, calling attention to your shortcomings is a surefire way to tank any marketing scheme, and make no mistake: querying is marketing your writing skills to editors. For those uncomfortable about marketing yourselves because it feels like selling out or seems phony: get over it. The only way out is through here, folks. It’s been my experience that those who lament “sell-outs” don’t tend to be terribly successful in general, and who has time for that? Shake off that position of insecurity and pitch from a position of power and confidence. Nutshell: don’t sweat newbie status; if your querying is smart, savvy, well-researched and in keeping with the magazine’s style and history, even the newest of newbies can and do score assignments.

Finally, how to send your query? One of the most helpful tips The Renegade Writer offers is to enter the electronic age. Sure, the online writers’ guidelines and the blurb in The Writer’s Market tell you where you can put your SASE. What most writers starting out don’t know is that often those snail mailed queries end up in a slush pile that may never see the light of day. By networking with other writers (another thing you’re simply going to have to get over in the writing business is a fear of networking) and joining professional writing sites such as Freelance Success or Media Bistro, you will net essential scoop such as the e-mail formats and contact names of magazines’ editorial staff. Find this info, and use it.

For more info, I recommend you run, don’t walk to pick up a copy of “The Renegade Writer” by Diana Burrell and Linda Formichelli and also Lisa Collier Cool’s classic-but- still-useful “How to Write Irresistible Query Letters.” Both offer a solid understanding of good structure and form.

We’d love to hear about your successes and missteps, as writers learn best by doing. Please come and post on our message boards about your experiences sending out queries, and ask any questions you might have, too.

We left January with ideas on business planning ranging from the simple–choosing "just one thing" to improve your business–to the formal–our interview with author Gwen Moran on how business plans benefit professional writers.

As we trudge into the gray days of February (if you’ll forgive my Midwest-centricism), Meagan and I want to focus on learning some basic rules of freelancing, and when to break them. Some of these resources will apply to book authors, too. The requisite skills used to communicate effectively in a query letter–a combination sales pitch and first-and-best chance to wow editors with your dazzling prose–apply well to writing book proposals, a theme we’ve set for the future at D2D. Regardless of genre or specialty, every professional writer needs to know how to do market research and put themselves out there with a confident, "I’m the best writer for this job" instead of a toe-shuffling, head-down, "Would you please, like, maybe, consider hiring me to write for your publication?"

Today’s entry is all about getting started and kicking some of that gray away to do some nuts-and-bolts learning. Following are some good basic resources for those of you new to freelance writing:

LINKS:

www.writersweekly.com

Weekly market guides delivered to your inbox each Wednesday, forums, market guides, and scam warnings.

The Writer Magazine

The online adjunct to the print magazine, The Writer offers content for both subscribers and non-subscribers to the print version. Click the "on the web" tab and then "web only" to access the free goodies.

Writer’s Market

The beginner’s classic resource, The Writer’s Market exists both in book and online forms. You can buy the annual print edition or subscribe to their online database. This link is here because there’s great content for beginning freelancers, too. Most is available only for subscribers, so you must decide whether the content is worth the $29 annual fee.

Freelance Writers’ Portal at About.com

A wealth of information despite the ubiquitous pop-ups. Give thanks for your pop-up blocker and dig in; tons of great articles here.

Absolute Write

Freelance writer and author Jenna Glatzer’s site for writers includes interviews with writers, online writing classes, and pithy content on the writing profession.

Worldwide Freelance

Worldwide Freelance offers a free weekly newsletter and content for beginning writers (click on the "Writing 101" link to view articles divided by subject). The site also contains both free and subscription-based market guides, with information on per-word pay rates, frequency of publication, etc. Free markets available by subscribing to the weekly newsletter, distributed electronically each Wednesday.

BOOKS:

How to Write Irresistible Query Letters by Lisa Collier Cool

This is the gold standard of books on writing queries. A must-own as far as I’m concerned, written in a clear, accessible style and packed with great tips and info.

Make a Real Living as a Freelance Writer: How to Win Top Writing Assignments by Jenna Glatzer

I haven’t (yet) read this book, but I’ve heard universally good things about it.

Getting Started as a Freelance Writer by Robert Bly

Bly has authored several "how to" books for both fiction and non-fiction writers, and this is his latest offering. I’ve found his books both user-friendly and inspiring in that "itching to drop this book NOW and WRITE!" way. But still, I keep reading–and writing–with Bly’s encouragement and sound advice.

The Well-Fed Writer by Peter Bowerman

Bowerman focuses on corporate writing, a decidedly different animal compared to consumer or trade magazine writing. But his enthusiasm is infectious and this guide is a must-have if your family life or child care situation allows for those vital face-to-face meetings when writing for local businesses.

The ASJA Guide to Freelance Writing

The subtitle of this book, produced by the American Society of Journalists and Authors, says it all: "A Professional Guide to the Business, for Nonfiction Writers of all Experience Levels." Each chapter is written by a member of the Society, and the emphasis is (wisely) on running your writing business like a business.

The Six-Figure Freelancer and Ready, Aim, Specialize! by Kelly James-Enger

Both titles seem to fill the amazon wish lists and shopping carts of both beginning and seasoned writers. To get a sense of James-Enger’s approachable and helpful style, read our interview with her from last month.

The Complete Idiot’s Guide to Business Plans by Gwen Moran and Sue Johnson

Moran and Johnson make the process of business planning far less painful than it seems on the surface. Read our interview with co-author Gwen Moran here.

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If you’d like another reason to kick out the February blahs, visit our message boards and post, post, post! The registered member who writes the most messages between Feb. 1 and midnight Feb. 14 wins a copy of The Complete Idiot’s Guide to Business Plans. So get gabbing, writers!

We’d love to hear your thoughts and suggestions for "must read" resources for freelancers who are starting out. Share your progress, add your insights, or ask questions on our message boards. Click here to comment!