The media landscape is vastly different today for freelance journalists than it was 15 years ago. According to the Pew Research Center, full-time U.S. newsroom employment has dropped 26% since 2008. And while traditional newsrooms shrank, digital publishing has grown—along with freelancing.

Both freelancing and media are evolving in a way that shapes the other. What does this mean for the future of the media industry? Well, it will continually shift to cater to freelance journalism. Here are some ways in which their role is changing the media industry.

Freelancers offer broad skills & perspectives

Instead of going through the process of onboarding new full-time employees, hiring freelancers has allowed outlets to share voices from diverse backgrounds—ones that traditional media sources may typically overlook.

A freelancer’s skillset today is also different than it was 15 years ago. They are more well-rounded, with skills including video editing, filming, voiceovers, and more.

Freelancers offer remote work flexibility

While the news cycle operates at all hours, traditional newsroom employees aren’t able to work 24/7. Freelancing, however, can be done at any time and any place—for the most part—creating flexibility for media outlets to publish content around the clock.  

Freelancers offer their own brand

Instead of news coming from a handful of media outlets, it’s coming from both freelancers and media outlets, decentralizing the traditional model. Freelance journalists are writing for multiple publications, creating a brand name and credibility for themselves in the process.

The world of journalism has seen rapid change in recent years. As freelance journalists integrate themselves within the media landscape, they are offering a wide range of skills, perspectives, and flexibility in today’s information age.

Every writer has their tricks for inspiration or getting unstuck. For some it’s reading, jogging, or engineering breaks into the day with a Pomodoro timer. Others recharge by playing games like solitaire or  table top games.

But the modern internet itself holds some newer tricks up its sleeve for us. Looking up internet search data might seem like the domain of a savvy online marketer–but a few of these tools can be surprisingly helpful for writers too. Here’s a quick round up of three that are simple, free, and often overlooked.

1. Use Google trends to support your research

Google receives over 2 trillion searches a year. A mind-boggling sum. With that is valuable data on what people like and what’s happening in the world. It’s insightful for any journalist, and fortunately, Google does not make this information entirely private. 

You can access popularity trends on what people are searching on Google Search trends. You can view the data over time, and even drill into how it’s trending geographically.  

Let’s say you’re writing an article on vegan diets. By searching “vegan,” you’ll find that it has been continuing to rise in popularity for well over a decade, but over the last three years, it’s plateaued a bit. You can even compare the popularity of searches. By adding “vegetarian” as another search parameter, you’ll find that it’s searched much less than “vegan,” perhaps suggesting veganism is more culturally popular. 

2. Get to know SimilarWeb

SimilarWeb is another overlooked tool for journalists. It allows you to understand website metrics, like how many visitors a website gets, and where they get their traffic from. 

For example, to continue with the vegan theme, you’ll find that the vegan restaurant recommendation site, Purple Cow, is quite popular according to SimilarWeb. That can be used to make suggestions on which restaurant aggregator you want to include in your article, or who you might want to reach out to for expert opinions. 

With SimilarWeb, you can also find similar sites. For Purple Cow, it shows a variety of Vegan related websites. If you want to understand the landscape of a particular space and who the players are, this is an excellent tool to quickly do that.

3. Remember related searches

When starting an article, you are likely going to brainstorm all the different angles and areas you can cover for a particular topic. You’ll Google search a topic, and read the first few articles to start coming up with ideas. 

There’s is a much easier way to brainstorm. After searching for a term, when you scroll all the way down on the Google search  results, at the very bottom, you’ll see related search terms. For “Vegan,” you’ll see “vegan lifestyle” and “vegan benefits,” and if you drill in further from there, you’ll see “vegan benefits for skin.” You can easily see how this can give you a number of angles to consider.

Surprisingly, we’re so used to looking above the fold at the top Google search results, that this has become an easily forgotten, but powerful feature on Google.  

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Modern writers can benefit from borrowing techniques from others working on the web, and adding a few tricks like these to the bag, might just land you that next article.

He met the villagers and took pictures of their protest. “As we were leaving, three black cars arrived and plainclothed officials told us to get in.” After a gruelling 5 hours of interrogation, Duggleby’s memory cards were wiped clean. He was finally released and ordered to leave the city. This was his introduction to the fact that danger for a journalist can come in many forms—not just physical harm.

“At the time, we had done no prior research and neither did we attempt to contact any local people (beforehand). I had not understood the system, coming from a western society that allows such coverage,” he says. Since then, Duggleby has taken a course in security training and self-defense; he’s far more aware of the political situation and cautious when taking on sensitive assignments.

Every day, all over the world, journalists and photographers (even those not necessarily covering conflict zones or tension ridden areas) find themselves facing grave difficulties, courting trouble and arrest, bearing physical hardships—even dealing with death threats—all in the course of doing their jobs.

And as the recent tragic death of Swedish freelance journalist Kim Wall has proved, any assignment can have an element of risk. As a freelancer, how can you protect yourself while ensuring that you still research deeply and report your stories without limitations? Here are some tips and resources that can help.

The Three A’s of Planning:

“Security and awareness training should be mandatory for all journalists, no matter where their reporting area is,” says Cath Mossom, who served in the British military for 22 years and now runs RPS Partnership, a crisis management and hostile training facility an hour from London, UK.  “Whether they are working undercover, reporting against drugs, crimes, corruption, natural disasters, or even when they are reporting from home on domestic issues, all journalists face some risk.”

Staying safe involves detailed planning and the three A’s will help, says Mossom: “We need to learn how to be Aware, to Anticipate [problems] that may arise and to be able to Avoid any danger/trouble. The more knowledge you have of an area, the more confident you will be once you arrive.”

Confidence borne of such awareness can be a huge advantage, because it translates into body language that ensures that you’re less likely to be a victim of an attack. “If you arrive in an airport for instance, and don’t know the lay out, or where your driver is, you look lost and vulnerable. This can make you an easy target,” she says.

If you’re taking on a reporting assignment that’s taking you into unfamiliar territory, be sure to research the lay of the land as much as possible before you set out. Study Google Maps, talk to other reporters or travelers who have been here before, be aware of the weather, the political situation and even the potential health risks involved. Keep emergency numbers handy.

“We need to also think about contingency planning more, so that if something were to happen, we have already thought through the process, and we are then able to react more quickly and decisively for a better outcome, rather than be frozen to the spot,” says Mossom.

Register with Organizations That Can Help

The brutal killings of freelance journalists James Foley and Steven Sotloff in the summer of 2014 in Syria shocked many newsrooms and set in motion a chain of events that culminated in the creation of ACOS (A Culture of Safety). In September 2014, Reuters, The Associated Press, and the International Press Institute held private meetings in New York and Chicago where editors discussed how to respond to these murders and promote freelance journalists’ safety. During the following months, a volunteer committee made up of representatives of the Frontline Freelance Register (FFR), Reuters, The Associated Press, the Dart Center, GroundTruth Project, and the Overseas Press Club Foundation drafted the Freelance Journalist Safety Principles, a document aimed at media organizations and freelancers alike that lists a set of safety standards for freelancers and local journalists.  Several other organizations, including the Rory Peck Trust, Reporters without Borders, and the Committee to Protect Journalists, were involved in the creation of the initiative.

“We focus on freelancers and local journalists worldwide. We are working on several short videos around key digital security aspects. This came as a top priority and a crucial need for freelancers,” says Elisabet Cantenys, Executive Director, ACOS Alliance. “Ultimately, we want to embed a culture of safety. In practical terms, this means finding options for insurance, supporting and coordinating safety training, facilitating the exchange of safety information and resources.”

It was a time when news budgets were shrinking and freelancers were increasing in numbers. “We started Frontline Freelance Register (FFR) in 2013 to address these changing needs in the industry. Having systems in place to support and protect us is so important,” says Emma Beals, independent journalist, co-chair of ACOS Alliance and co-founder and former board member of FFR. “The ACOS Alliance principles and lays out several things that freelancers and news organizations should discuss and prepare before an assignment and learn about how to better protect themselves.”

The Rory Peck Trust is another organization that supports freelancers worldwide. Their website has templates for risk assessments and communication plans. In August, it  teamed up with FFR to offer free consultations for freelancers around the world with security advisors. In these online sessions, freelancers reporting outside of their home countries learned the basics of how to protect themselves.

Reach out to Locals and NGOs

Journalists often hire locals who  act as guides. “You not only stay safe this way, but have more access and deeper insight into any issue,” says Duggleby. Often called ‘fixers’, these locals arrange meetings and gain access to key contacts. Since they know the terrain well, they can help you navigate any pitfalls.

“Good fixers can be expensive, but there are more of them who are getting into this work and promoting themselves on social media,” says Duggleby. If your freelance budget does not include fixers, seeking out NGO’s who handle the issues you’re reporting on would be helpful too. “A recent photo documentary I produced looked at human rights defenders who had been killed in Southeast Asia in the last 20 years. It is a sensitive topic and I worked very closely with a Human Rights NGO who continuously monitored the situation,” says Duggleby.

Listen to your instincts

Sometimes it helps to listen to our gut instincts. Even if this means leaving a certain situation or location prematurely, you should stay tuned to that inner voice that warns you when something is not quite right. And this can apply, even if you’re reporting in a familiar area, that you don’t usually associate with threat.

“There is the misconception that safety concerns only apply to those working on the frontlines,” says Cantenys. “Your email or communications can be compromised anytime. A demonstration can turn violent. A terrorist attack can happen around the corner. Being safe would mean being professional. Also, safety needs to be integrated into your work.”  

But, freelancing isn’t all fat paychecks and notable bylines. Along the journey of self-employment, plenty of dilemmas presents themselves — from an unbearable workload to having your story stolen. But, with the right attitude and some good old-fashioned chutzpah, you can navigate the little hang-ups that the freelance life brings your way.

1. You’ll have to say “yes” to everything for a while

When you first set out to freelance, you’ll have to stomach crummy pay, cantankerous editors, and take on all assignments that come your way. Let’s be honest, in the beginning, you can’t afford to be picky.

Once you get enough clips under your belt and reach freelance rockstar status, you can be fussy and turn down gigs. When you finally get to say “no” to those vile editors and poor-paying gigs, it is liberating, but you have to be patient and keep your eye on the prize before you enter the “no” territory.

2. Your social life will take the backseat

Because you’re saying “yes” to all assignments that come your way, you will have an unbearable workload that will keep you shackled to your desk. While friends are at the bar enjoying happy hour, you’ll be stuck at home grappling with your FOMO and deadlines.

If you can unearth yourself from the confines of your writing cave to join society, that one beer could be the inspirational elixir you needed to power through your work. In college, my journalism professor always advised me to “grab a beer” when I was struggling with a story.

3. Existential crises are a regular occurrence

As assignments ebb and flow, emotional ups and downs coincide. The high you feel when you’re assigned to write a story for your favorite publication can be followed by a depressing dry spell. Experiencing these mercurial feelings can lead to self-doubt and existential crises, but don’t let it gnaw at your confidence and work ethic.

Use your downtime wisely, and instead of pouting, brainstorm some killer pitches.

Learn to embrace the lull.

4. Your story ideas will be “stolen”

If you pitched a story to an editor and then see it in their publication written by someone else, your gut reaction may be to fire off a nasty-gram and call a lawyer.

Stop and take a breath.

Even though it’s a ruthless move on the editor’s behalf, you have to accept that:

• An editor can assign a very similar story to another writer
• Your idea wasn’t original, and someone else could’ve pitched the same story

It’s a dog-eat-dog world, and freelance writing can be cutthroat.

When pitching editors, be sure your story ideas are fully fleshed out. Off the bat, you need to prove to an editor that you are the expert who was born to write the story.

5. Success takes longer than you think

Success in the freelance world is determined by financial stability and consistent gigs. A ubiquitous byline and a flush wallet doesn’t happen overnight but is a slow slog that can take years to build up to.

Start your freelance career while you have a full-time or part-time job to ensure that you have a stable financial foundation. As you get more work and gain confidence, consider leaving your 9-to-5 to embrace the freelance life.

Editors at Destination Weddings & Honeymoons say it: “For features, we typically generate the ideas in house, then assign them out to well-traveled, proven freelancers who have written extensively for our FOB departments and know our brand well.” So, does Every Day With Rachael Ray (“Newbies should start by pitching___the front-of-book”), Wired (“Pitching the five-pronged front-of-book section is the best way to get your foot in the door”) GQ and just about every other big glossy out there.

But, what if you really, really, really want to write a feature? Well, nailing your first spot in the coveted “well” of a magazine involves more than simply pitching the idea. Your topic — and timing — have to be spot on, and you need to convince an editor that you’re the best writer for the assignment. But when living outside of the media hotbeds of New York and L.A. means no chance of rubbing elbows with gatekeepers at industry events, how do you know exactly what magazine editors want? Hint: You’ll need more than a killer lede or a glowing portfolio.

1. Include news and numbers.

Pitching a story about women and depression to a big pub like Glamour or Marie Claire is sure to get you a “we’ve already covered it” type of response (if one at all). But if you include information on a new study and use that as a jumping-off point, you’re more likely to catch an editor’s eye. They cover the same topics all the time — and are always on the hunt for a great reason to cover it again.

“Get an editor excited,” said Jon Finkel, a Florida-based sports writer, who notes that a good statistic or recent study could give an old topic a fresh angle.

Compelling numbers can also show a dramatic flair, which could push the editor to publish your piece sooner rather than later. Check Google to find out what types of stories are trending, and keep up-to-date through websites such as EurekAlert or PR Newswire. Regional publications are also a good place to look for a local story that’s worthy of national exposure. The story doesn’t necessarily have to focus on the latest development, but that timely angle can be what lands the assignment.

2. Add an anecdote.

Numbers are nice, but don’t forget your role as a storyteller. Ever notice how those exposes about an offbeat medical condition often open up with a story about a plain Jane who experienced it? That’s to draw the reader in and prove that the ailment could happen to anyone. Demonstrate in your pitch that you can connect with the audience through a personal story, and you’re that much closer to a yes from the editor. Plus, it also shows you’ve already done your homework to find the right source.

“You definitely want to make it look like you’ve made some outreach [with a prospective source],” said Oregon-based writer Teri Cettina, whose work has appeared in Parenting. She says she doesn’t always use an anecdote in a feature idea, but doing so can demonstrate that you’re committed to the idea and have invested time into the concept.

3. Package your pitch

From sidebars with handy tips to a pie chart breaking down statistics, packaging can really bring a story together — and help your query stand out.

“It would be a big mistake if you felt like [creating visual aids] was the job of the editor and you didn’t have to think about that,” said Cristina Goyanes, a writer who previously worked as an editor at Women’s Health.

Whether you include a fact box, infographic or list of resources, think about the questions you’d want answered and keep your packaging recommendations to a few sentences, Goyanes suggests. “They’re not going to want the whole story until they’re intrigued by the bait.”

When Finkel pitched an idea about exercises to Yahoo!, he got video from a personal trainer demonstrating the moves. That way, the feature wasn’t all about explaining how to perform the moves — it showed readers how to do them, too. Not to mention, it helped him land the assignment.

4. Nail the headline

For some editors, the art of writing a good headline may be enough to score an assignment, so make yours so juicy that they can’t resist.

“If you are still working on fleshing out what exactly the story is, but the headline is too good to pass up, it can save your butt,” Goyanes said.

What makes a good headline? Something that blends with the publication’s style, for one. If the magazine or website features lots of numbered lists, go with a “5 Ways to…” type of headline. Other strategies include creating an urgency to read the piece (i.e. “The Dangers of Missing Breakfast”) or going against what a reader may normally assume (i.e. “Is Sleeping Making You Fat?”)

Cettina said she includes a sample headline in a query, even though she admits writing it isn’t always her forte. But, even if your headline doesn’t make it to publication, simply making the effort can be enough to prove that you’re a thorough writer and willing to do more than is required.

5. Go beyond an idea

Writing your query in the tone of the actual story is a tactic that works for many writers, because, again, it allows the editor to see your writing style and imagine what the story will look like in his magazine.

Cettina says that writing the first few paragraphs of a pitch as if it were the actual story has helped her land some big bylines. We know what you’re thinking: “Why should I put all that time into writing a piece that may not get assigned?” Well, knowing when to invest in a piece comes with time, says Finkel, and is part of every writer’s balancing act.

If the first pub doesn’t like your pitch, tweak it and pitch it to another publication. As long as it hasn’t been published, you’re allowed to query elsewhere. (One caveat, however: don’t do simultaneous pitches for the same story. Instead, wait until you’re sure a magazine is passing on your idea before querying another.)

If you’re really against writing before getting the green light, focus on selling the amount of research you’ve done for the story instead and mention sources who are willing to be interviewed. Finkel says editors often like knowing that you’ve done some of that legwork in advance.

6. Sell yourself

A feature may have the juiciest lede and a stellar packaging concept, but an editor also wants to know why he or she should choose you to write the article.

Pitching an interview with a baseball player doesn’t necessarily distinguish you as a writer; however, if you played back-up catcher with him, that just may give you an advantage.

Sometimes it’s not just about making yourself stand out; it’s also about having a track record of successfully promoting your work, Finkel adds. “There’s so many places that people write for online, where the goal isn’t so much an awesome article but a ton of clicks,” he said.

You may want to mention your social media presence, because most publications nowadays are focused on spreading the word about their pieces. A writer with, say, thousands of industry followers on Twitter could certainly have an edge over another writer that simply offers to put the article together.

“You’re almost at this point… selling your writing and your reach and what the article’s reach is going to be,” said Finkel, adding that a story pitch also becomes a business pitch. “What editor wouldn’t want a writer who’s already thinking about how to promote the piece?”

Pitch Perfection

Every writer knows that the pitching game is all about timing — even the best queries are passed up for different reasons.

“Persistence can be just as important as having great ideas,” noted Cettina, who says she focused on a few magazines and pitched them “like it was my job” before she broke into the industry.

Before writing for many national magazines, Cettina said she knew that the more she pitched, the more her name would be in front of editors. Even when they didn’t like an idea, she began to receive responses and build relationships — a crucial key to landing future assignments.

“The first time an editor sees my name, they might be willing to dismiss me,” she said. “If they see my name routinely, regularly coming across their email, they may start to pay attention.”

Kristen Fischer copywriter and journalist living at the Jersey Shore. Visit www.kristenfischer.com to learn more about her.

Spoiler alert: It’s not. Passing on assignments—whether you’re a full-time freelancer or have a side gig to your 9 to 5—is often the best decision for your career, your sanity, your bank account or all of the above. Let’s dive into the six solid reasons you should say no to a client.

1. The client’s writers don’t stick around

Whenever someone asks about your writing availability, you should look at the last five or so pieces on their website. Have the writers of those pieces contributed multiple stories? How far back does their work go?

Then repeat this exercise with stories that were published half a year ago. Do the writers who wrote those pieces have any recent bylines?

It’s a red flag when every profile you click on only lists a couple pieces.

“If a client has hired multiple writers for the same position within a short time period, there’s probably something going on with the client,” says Kaysie Garza, a freelance writer and editor.

After all, publications that treat contributors well have no trouble retaining their contributors.

Of course, there are many other (completely unrelated!) reasons a writer will stop working for a client. When you’re not sure what’s going on, consider reaching out to two contributors—one current, one former—and asking both about their experience.

2. The client asks you to do work for free

Some clients will ask you to do free work upfront, with the promise that they’ll pay you if you do a good job. Don’t fall for this trap.

First, you should never work for free: It devalues your writing and makes you seem less professional. Second, credible clients will almost never make this request, said freelance writer Elizabeth Wellington. People who do are usually hoping you’re too inexperienced or desperate to say no.

“Walk away if someone’s hunting for a cheap deal,” Wellington says.

An exception: If you’re applying for a full-time writing gig, the hiring manager will typically ask you to complete a writing test. You’ll get a set period of time (usually two days) to write a sample post for their outlet. Since the stakes are much higher for a permanent position, they need to make sure you can write well on a deadline.

Get inside information on what to pitch niche publications, up-to-date contacts for magazine editors and more. Join AvantGuild, our exclusive membership program for freelance writers and other media professionals.

3. The client has a bad reputation

If the rate is right, it doesn’t matter whether the client’s public reputation is a bit shady, right?

Wrong. In the writing world, your credibility is everything. Potential employers will always search your name—and when they see you’ve written for a disreputable or low-quality site, you’ll immediately look less appealing.

But even if you’re writing with no byline, taking these gigs is risky. You can’t trust that you’ll get paid on time (if at all!). Clients with bad raps usually don’t treat their freelancers well.

4. The client is asking you to write about something questionable

On a related note, pass on any job that attaches your name to a questionable opinion or topic.

“One time, I was approached by the content manager for an adult toy website,” one anonymous freelancer says. “They offered me an enormous sum of money to write product reviews for their blog.”

Despite the fantastic rate, this freelancer says he had no trouble saying no.

“I definitely didn’t want this site coming up in my Google results,” he says.

It’s a little less black and white when you’re asked to cover something you personally disagree with. Say you’re a vegetarian, and a cooking magazine wants you to write an article about grilling meat. You’ll have to decide what you’re comfortable with.

“Before you get in an awkward situation where this happens, I definitely recommend doing a little homework on the company first,” advises WayUp managing editor Lily Herman. “You’d be surprised how many writers start working and only then realize that they may be asked to write about things they don’t want their name attached to,”

5. The client has unreasonable expectations

When a client is making unrealistic demands from the get-go, Wellington says walking away is your best move.

One anonymous freelancer received a request to write a 200-page ebook in one week—and the client wanted at least seven original interviews. The freelancer turned down the gig.

With these types of assignments, it doesn’t matter how hard you work: The client is probably never going to be satisfied. By the time the gig is over, you’re overworked and stressed, and they feel taken advantage of. It’s lose-lose.

Rather than telling yourself their demands will ease up, save yourself the headache and let this job go.

6. The client gives you a bad vibe

Sometimes, you get a perfect gig. The terms look solid, the rate is fair and the work seems right up your alley. Yet even though all signs should be pointing to yes, for some reason they’re just… not. Whenever you talk to this client, the hairs on the back of your neck stand up.

You could ignore your gut and move forward with this project.

But every time I’ve ignored my instincts, I’ve ended up regretting it: The assignment turns out to be much bigger in scope than the client described, they refuse to pay on time, they’re disrespectful verging on mean—or all of the above.

Wellington’s experience is similar.

“I’ve happily walked away from big writing projects because I have a gut feeling that the best-case scenario will still be a nightmare,” she says. “My instincts are usually spot on.”

The more experience you gain, the more you should trust your instincts. If something doesn’t feel right, it’s usually because something’s not right.

Just because you want to work doesn’t mean you need to accept every job. “There are plenty of good assignments and credible clients out there,” said Garza.

So if a job isn’t right, give yourself permission to turn it down.

Oh, and that their sense of style is far superior to that of us lowly writers (which isn’t difficult because we’re all wearing sweatpants stained with peanut butter and our own tears).

Although I am indeed wearing my jammies at the time of this writing, the stereotype about editors isn’t nearly as true. Editors, though busy, want their writers to succeed.

The relationship is symbiotic. Without writers, editors don’t have content and without content, publications would fall apart.

Start with a stellar pitch.

We all know a brilliant pitch is editorial gold. But what do editors really want out of a pitch letter?

Lisa Haney, a freelance writer and editor, says it’s all about tailoring your pitch to three things: the magazine, the audience and the section that she handles. “If you hit those three points, you’re already ahead of a lot of pitches.” Regarding the actual content of a pitch, she adds, “It needs a new hook or angle. It has to be an actual idea, not a subject.”

To determine whether your pitch has an angle, boil it down into a statement. For example, “Breastfeeding decreases a child’s susceptibility to obesity” or “Soy milk is good for bone health.” If you can’t do this exercise or you wind up only with topics like “breastfeeding” or “bone health,” you’re unlikely to catch an editor’s eye.

As an editor, she loves when writers come up with a catchy headline, and add an outline or subheads within the body of the email. “I’d put the headline in [the subject field] or ‘story pitch.’ I get so much information from PR representatives. Knowing that it’s an article pitch, and not a product or a book, is really important.”

“I like specifics. Help me picture the final piece,” says Elena Mauer, an editor and content strategist.

Make your editor’s job easier.

The best freelancers are the ones who are easy to work with: They’re timely, courteous and professional. These attributes may be obvious, but others are less apparent, especially to new writers.

Chandra Turner, executive editor of Parents magazine, says that nothing drives an editor crazier than reading a wonderful piece and having it fall apart in fact checking. Writers, she says, “should source all their content. Have your backup for everything that you’ve written.”

Mauer emphasizes the importance of fact checking, too. “Make sure you talk to an expert, or you’ve looked up a study or you have some sort of a credible resource that says this is true. Back up all the information and turn in all your fact-checked materials in an organized way so our research team can look it up easily.”

Another component is communication. Just like in any working or personal relationship, communication can make or break it. Mauer says, “If you can’t make a deadline, just check in. If you can’t get a hold of your expert, just keep me posted. It happens, and we can work around it as long as we know to expect that.”

She adds that new freelancers tend not to ask many questions when writing up a first draft. They often try to handle conflicts that come up in the writing process alone. “Don’t just write it up and turn it in,” Mauer says. “Ask me! Because that’s what I’m here for, and shaping it before the first draft really turns out to be a better end result.”

Be both a great writer and reporter.

Turner emphasizes, “The best freelancers are the ones who are really strong journalists and also really excellent wordsmiths. If you have that combination, you’ll be very salable in this market—and forever.”

Identify your strengths and weaknesses. Are you quick-witted on the page, but you choke in interviews? Do you have a knack for digging up unique stories, yet you get lost when it’s time to put fingers to keyboard? Honing your reporting or writing skills may give you the edge you need to woo an editor and land your dream assignment.

If you’re uncertain which skill to attack, however, editors are often more likely to be won over by a killer story idea than artful prose. Haney says, “I’m looking for some good balance, somebody who knows how to dig and get good quotes from experts, and to be able to synthesize information into a straightforward voice.”

It requires little effort for editors to finesse your work—after all, “edit” is in their job title. On the other hand, scoping out a hot story about a miracle weight-loss supplement or an underground fitness trend that’s sweeping the nation? Not so quick and easy to do.

Breaking in? Think in terms of the editor’s risk.

You may be ready to deliver some amazing content, but when you’re pitching a publication for the first time, the editor doesn’t know a thing about you. Even a beautifully crafted pitch tailored exactly to your target publication may get lost or declined because an editor doesn’t want to risk a 2,000-word feature on a stranger.

If you’re trying to make your print debut, Turner suggests starting small. “It’s less of a risk for me to assign a 300-word or 1,000-word [story] than a major feature. If it comes in and it’s not good, it’s a bigger risk for me. Pitch smaller stories and work your way up. Breaking in as an essay is a really great way to do it—I can’t assign an essay; it’s your story.”

Haney suggests another way to step into an editor’s shoes: By examining which “buckets” he or she has to fill. “Most magazines are very highly formatted, so if you check out the section an editor handles, you’ll see what types of stories fill those sections,” she says. The challenge of her daily grind, she explains, is “What’s my opener? I need a health report. [I’m] trying to fill those buckets constantly. So when your pitch comes in, it helps me mentally fill those buckets and puts you at the top of the list.”

What editors want you to know.

Mauer says she wishes writers knew that she just can’t always respond to pitches the day she receives them—even though she wishes she could. Her day is often jam-packed with approving new stories, running to meetings, reading layouts and meeting deadlines. “I want freelancers to know it’s OK to remind me of your pitch. If you have this idea and it’s timely, it’s okay to put that in the subject line. There are lots of great ideas that come our way that we really wish we could accept, but we just can’t. At different times we’re prioritizing different types of content.”

Turner advises, “Be open to being edited. Most professional [writers] are fine with that; it’s the newbies that fight over every adjective.” However, writers should still feel free to provide their input because it is ultimately their byline that will appear on the piece. “It really is a dance to get to the right place,” Turner says.

Haney wants writers to know how much of a risk it is to take on a new freelancer. “But once you break through, you’ll get more work. A lot of writers we work with don’t pitch all the time; they’re the ones we go to with ideas. So the good news is you pitch less if you have a good relationship with an editor.”

Either way, you may not be making as much as you like, and find your income routinely comes in south of $100K a year. If you’re looking to break through that barrier, read on: We’ve got the secrets to hitting and surpassing that magic six-figure mark, from freelancers who do it year after year.

1. Sell Yourself

What you might have failed to consider as a freelancer is how much time you’ll need to spend marketing your services.

In a guest post on Six Figure Nurse, Elizabeth Hanes—a registered nurse and freelancer raking in over six-figures by writing for health brands—says freelance writing is about 75% marketing and 25% writing.

“If you aren’t willing to sell yourself,” she writes, “then you probably won’t succeed in this arena.”

So while the ability to write is, obviously, key, just as non-negotiable is a talent for getting out there and marketing yourself and your talents.

2. Work Your Connections

Just like anything in life, it’s all about who you know. In his blog, Joel Klettke, a freelance copywriter who banked over $200k in two years, says to treat everyone you meet with respect, because you never know where that person may wind up, or where that relationship could lead.

“Never write anyone off because they’re in a position where they can’t immediately help you or give you a job,” he writes. “You never know where that person might wind up, or that relationship might lead.”

Whether the person is a client, a fellow freelancer or just an acquaintance, Klettke adds, be helpful first, and to listen more than you speak.

Get inside information on what to pitch niche publications, up-to-date contacts for magazine editors and more. Join AvantGuild, our exclusive membership program for freelance writers and other media professionals.

3. Identify Speaking Opportunities (and Pounce on Them)

Speaking at events is an excellent way to gain visibility and credibility in your field.

In a guest post on Sujan Patel’s blog, Ross Simmonds—a freelancer who made over $250k last year—recommends looking for events in your niche area and ask to be a speaker.

“Public speaking is a super power in the world of freelancing,” Simmonds writes, “because it’s a tactic that works” in generating new stories, leads and assignments.

Not sure where to start? Simmonds recommends looking at projects that did really well and see if you can find a central theme—say, perhaps content writing—and scout out those conferences.

4. Follow Up With Past and Potential Clients

Jennifer Goforth Gregory, a freelance writer who broke six figures in 2015, wrote a post on her site listing reasons freelancers are not breaking $100k themselves.

Freelancers’ biggest mistake? Not following up after sending out an initial letter of introduction.

“The majority of the gigs that I land through letters of introduction come on the follow-up,” Goforth Gregory writes. “I recently heard of a writer who has been following up with a client for three years and was recently offered a huge project. Yes, it can take months or years, but I personally believe that when you don’t follow up that you are leaving money on the table.”

Goforth Gregory recommends making a note on your calendar every time you send initial letters reminding yourself to follow up in three weeks (and then again three weeks after that).

5. Get a Niche

Specializing—honing in on an industry or topic—is one of the best things you can do as a freelancer.

On the Freelance Transformation podcast, six-figure freelance writer Bryce Bladon says by specializing, you’re able to develop an expertise, and develop content for clients within your niche more efficiently.

“When you specialize in one thing, you can start anticipating the needs of your client,” Bladon shares. “You appeal to one type of client, and the potential clients who don’t fit in your niche will disqualify themselves. That way you only work with the clients you want and become even more efficient in helping those clients in your niche.”

Bladon suggests making your niche very clear by only displaying work in your portfolio that’s within your specialization, focusing on the positive outcome of your efforts.

Despite what I thought was a complete lack of technical knowledge, I landed a contract job writing eLearning course material that teaches sales representatives how to sell software. Weird, right? The gist was this: I would read through a bunch of source documents, try to make sense of the information, and structure it into four lessons based on an outline provided to me.

But let me go back. When applying for the job, I was asked to complete a “writing assessment” that all contractors must take to determine their skill level. I almost gave up before even starting. When I read the instructions, I didn’t understand half the words onscreen, let alone what I was supposed to do with them.

So I just did my own thing; I wrote a marketing blurb about the company, based on its website content and whatever else I could find online. I hoped to show them I could at least research and put words into grammatically acceptable sentences.

I guess it was good enough. A few days later, I was given a technical writing assignment for which I would be paid more than I’d earned in the last six months.

Then, I saw a job posting that told me the company was looking for a full-time writer. I jumped at the opportunity—and got the job. That first project was challenging. I cleared my schedule and locked myself in my office for an entire weekend. When I finally finished it, I got paid promptly. I was asked to do another project that made the difficulty of my first akin to something called “How to Zip Up Your Fly: A Post-Urination Guide.”

But the more I familiarized myself with the industry jargon, the more this type of writing started to feel natural. Although I still have plenty to learn, I’m now twice as fast at completing an assignment as I was when I started. New projects became open to me: editing a PowerPoint slide, writing catchy marketing copy, and performing quality assurance on a completed course.

Here are some of the things I’ve learned about being a technical writer:

There will always be technical writing work.

We’ve been hearing talk about the changing face of journalism, but technical writing isn’t going anywhere. Companies will always rely on the written word to communicate, teach, and sell.

Although my ability to extract critical business issues from an SME transcript may be less romantic than, say, my novel about low-income, spirited lesbian waitresses struggling with addiction (that’s a real—unpublished—thing I wrote), the former pays the bills, promises growth and affords me new joys in life.

As a technical writer, you learn as you go.

I’m not Steve Jobs; I’m just a person who pays close attention to what she reads and asks a lot of questions. I still don’t 100 percent understand the difference between a switch and a router, but I’m not ashamed to ask a colleague. And there’s a hidden benefit to ignorance: If, by the end of my writing, I can understand something complex, I am fairly certain my audience will understand it too.

The work of technical writing is straightforward.

Although there are creative aspects to technical writing, most of the writing I do is black and white. “In this lesson, we’ll cover a, b, and c,” or “When selling to this type of person, discuss a, b, and c.”

It’s nice to have clear expectations and a process to follow rather than feel like every day is a desperate attempt to flag down the muse. Plus, it leaves some breathing room in my creative well at the end of the day for the types of writing and art that bring me true joy.

Technical writing is a lucrative option.

The tech-writing industry pays between $30 to $50 an hour, with salaried writers typically making between $50,000 and $70,000 a year. For contractors, pay may be project-based rather than hourly, which for me had ranged between $400 and $2,500 per project.

Do I think it’s fair that technical writers get paid more than journalists and novelists? No. I don’t think technical or sales writing is intrinsically “worth” more than beautiful prose. But I won’t deny that the income eases a ton of the stressors of my past life (especially as the sole income-earner in my family, with a toddler and a husband who just went back to school).

Money may not be a motivating factor for all writers, but for those who, like me, have a degree but few professional skills beyond writing, it’s reassuring to know my words are worth more than a handful of peanuts.

Getting started as a tech writer

Basically, technical writing all day every day isn’t the facepalm-migraine it sounds like, and that’s why I recommend it to anyone who wants to write for a living. My suggestion is to dip your toes in. Search for jobs that are a little bit out of your comfort zone. Google technical writing jobs or sales writing jobs.

The company I work for is a sales consulting company. Still, most corporations have in-house writers and contractors who provide content for training, presentations, and other corporate materials. Also, mine your social media. I initially found this job through a status update of a friend of a friend. And then do your best. You may find that you’re way more capable than you initially thought. You just have to trust yourself to be great.

So if you’re exploring how to start technical writing, don’t hesitate to take the plunge. Search for jobs that push your boundaries, and don’t be afraid to leverage your social media connections. You’re more capable than you think, and all it takes is the courage to begin.

So what’s next after you’ve dipped your toes into technical writing? Take it from me: don’t stop at just being good enough. The field constantly evolves; you must keep up if you want to stay competitive. That means continually educating yourself. Attend webinars, take specialized courses, or even go for a certification in technical writing. Trust me, investing in yourself never goes out of style.

Let’s talk about networking.

I used to roll my eyes at the term, but hey, it works. LinkedIn is a goldmine for this. Connect with other technical writers, join industry-specific groups, and don’t be shy to slide into someone’s DMs (professionally, of course). A simple message can go a long way. After all, I landed one of my first major contracts by just asking, “Hey, are you guys looking for a writer?” Turns out, they were.

Get used to deadlines.

And then there’s the ever-so-daunting work-life balance. I won’t sugarcoat it; deadlines can be harsh. But guess what? Good time management can make you feel like a wizard. Block out your time for specific tasks and stick to it. You’ll find that not only do you get more done, but you also won’t feel like you’re constantly racing against the clock.

What about tackling more complex projects? Initially, writing about topics like blockchain or artificial intelligence can be intimidating. But don’t let the jargon scare you away. You’ve got the research skills; use them. The more you understand the topic, the easier it becomes to write about it. And the more complex the topic, often the higher the pay. It’s a win-win.

Don’t overlook the power of feedback. Constructive criticism is your friend, not your enemy. After completing a project, ask for feedback, and take it gracefully. If you keep your ego at the door, you’ll find these insights to be the quickest route to improving your craft.

Lastly, if you’re still pondering how to start technical writing, remember it’s never too late. I’ve met people who transitioned into this field in their 40s and 50s. So age, background, or experience shouldn’t be roadblocks. If you have a knack for writing and a willingness to learn, you’re already ahead of the game.

Amanda Layman Low is a freelance writer and artist. Contact her on Twitter @AmandaMLayman.

Discover new technical writing jobs and gigs on Mediabistro’s media job board.

So check ’em out, bookmark your favorites and take advantage of these awesome services that’ll make your freelancing life a little easier, and hopefully more lucrative.

Getting Paid

When it comes to billing the client, you want your invoices to be easy to understand, simple to track and—most important—effortless for the client. Here are a few options that offer all of that.

1. Harvest

Harvest is a time tracking and invoicing site that makes it super easy to create and send bills to clients. One great feature: You can integrate PayPal right into your invoice, so—if your clients are comfortable using PayPal—they can submit payments directly into your account.

2. Due

While Due also offers great invoicing capabilities, where it truly excels is in its digital wallet and e-payment options—including credit card payments. So if you’re looking for an easy way to manage payments, this might be the invoicing service for you.

3. Invoicera

Similar to the other invoice sites, Invoicera helps you track time and invoice clients, among other features. And if you have clients who are perpetually late on payments, you’ll love Invoicera’s late-fee feature which you can enable to help keep the cash rolling in, and on time.

Managing the Project

One thing you lose when you go freelance is that project manager to keep you on track with your deadlines, milestones and client meetings. To help, here are a couple websites that work as a quasi-project manager.

4. Trello

From a distance, it make look like a game of solitaire, but Trello is really a project management site that uses cards and lists to make it easy to visualize projects, ideas and due dates. And if you’re working on a team, you can invite others to collaborate on your Trello boards.

5. Solo

Along with invoicing and other payment capabilities, Solo offers users the ability to manage and analyze workloads. Another neat features are its client and prospect management tools, which allow you to keep tabs on who you’re working with, and where you might be able to gain more business down the road.

6. Asana

While Asana is designed more for team collaboration, it still works great as a project management tool for the solo entrepreneur. With features like tasks, projects and messaging, Asana is a great way to stay on top of your work while collaborating with other freelancers.

Showcasing Your Work

In order to gain trust and snag more clients, you’ll need a portfolio to show off your work. There are plenty of options out there when it comes to site design and hosting, but some are more user-friendly than others. Here are a few of our simple-to-use favorites.

7. Squarespace

Website builder Squarespace makes it easy to build a site that looks professionally designed. Each site is based off a Squarespace template and—good news—they have an entire section of portfolio templates. While most of the design work is already done for you, you can also go in and tweak design elements to match your tastes.  

8. Wix

Wix is a user-friendly website builder based on the idea of drag and drop templates. Features include slideshows, Instagram-like image filters and a function that makes it easier for your audience to share your content across several social platforms.

9. WordPress

A staple in the industry, WordPress is a great alternative for anybody looking to get a little more hands-on with their website building. You can find portfolio themes for WordPress on its site—it currently has about 30 options—and at places like Theme Forest.

Finding the Gig

Some freelancers say you need to spend 75 percent of your time looking for gigs, and 25 percent actually doing the work. That’s where freelance sites come in.

With the ability to showcase your work, testimonials from past clients and ratings, these sites help good freelancers—like you—build on the momentum of previous work to keep the gigs rolling in. Here are a few great options.

10. Contently

Founded on the idea of telling great stories, Contently is a software company that provides organizations with quality content.

If you have some solid writing samples, all you have to do is create a portfolio on Contently and you’ll be paired with suitable projects, when Contently finds a good match.  

11. UpWork

On UpWork, you can set up a client-facing portfolio, take tests to prove your skill levels, bid on writing projects and get paid. One of the best parts of UpWork is the rating system: Do enough awesome work, and new clients will see your stellar reviews. Keep at it long enough and you could earn the highly coveted “Top Rated” status.

12. Freelance Marketplace

Mediabistro’s Freelance Marketplace is where media pros go to find talent. Here you can create a portfolio, display your background and professional strengths and update as you go. Unlike other sites, where the gigs can span industries, the Freelance Marketplace has a strong focus in media, which can be great for those looking to find work within the biz.