Travel Articles Writing Tips

Travel is booming. No doubt about it. It seems like everyone with a mouse and keyboard has visited Orbitz, Expedia, et al, for the best rates on trips to ... well, to everywhere. Dropping prices make travel that much more appealing to an ever-widening group of Americans.

This mini-boom in travel has had the side effect of increasing the number of travel-article markets, both on-line and off. Magazines that wouldn't have considered running travel a few years ago are clamboring to bolster their travel-related content. And why not. The travel industry is a mega-monster constantly seeking to gobble up new customers. In publishing lingo, that translates into travel-related advertising revenue. Come one, come all. It's gravy time!

You can cash in on the scramble for travel features. Just remember that, in a glutted freelance market, you're not alone. To give yourself a competitive edge over other travel writers (including those who specialize in the genre), keep these tips in mind.

Know your market

Just as not all magazines are alike, not all travel markets are the same. It's no surprise that medical magazines gear their travel pages to their readers (doctors, mostly) and where they most want to go. Environmental magazines concentrate their coverage on hands-on eco-related excursions. Cruise magazines want destinations accessible by ship.

Try selling a piece on the bars of Puerto Vallarta to Sierra and you're simply wasting your time

Do sweat the details

Some magazines have a strict taboo against fam (familiarization) trips. If you're planning on accepting anything from a travel agent, airline, cruise line, or hotel, make sure the editor knows up front and doesn't object.

Similarly, some magazines want all rights to publication (including Internet rights), some want only print rights, and some negotiate rights separately. Understand in advance what you're giving up so that no one is disappointed or disillusioned afterwards.

Don't get greedy

One of the prime tip-offs inexperienced writers give seasoned editors is something like this: "I've got a great idea for a travel piece to Miami and want to know if you pay expenses." Or this: "I'd like to write an article for you. How much do you pay?" Or one of our personal favorites: "I want to do an article for you. Can I have an assignment?"

Here's a guy the editor has never worked with before, whose credentials may or may not be accurate as presented, and who may or may not actually come through with the article that the editor requested to see and can actually use. Now he wants expenses? An assignment? A payment guarantee? Uh-huh. Sure.

In short, don't insult the editor's intelligence by trying to get him to commit to something before he's actually seen the piece and gets comfortable working with you. What this all boils down to is that you have to give any relationship time to grow--and that includes a writer-editor relationship. When the editor is convinced you're a writer who delivers what he promises, you'll know it. Then if you have an idea for an assignment, or need help with costs, or need a certain amount of money out of a piece, you can ask for it without fear of alienating him.

Slant your article

It's a simple enough concept. Your recent trip to the jungles of Peru might fly in Smithsonian or National Geographic, but with a little fine-tuning, you can also make it appealing to magazines with a greatly different subscriber base. If you're going to sell the same trip to Rolling Stone or Mother Jones, work in a human-interest element. (Remember your guide and how he introduced you to his family, all struggling financially to stay alive?)

Somebody once said there's only one story, but there are a million different slants. It's true. With the right slant, you can sell the same basic trip to dozens of different magazines.

Don't get too personal

When used properly, working yourself or people you know into the article can be effective. But unless the magazine thrives on personal reminiscences (and few do), you'll do well to keep personal intrusions to a minimum. After all, editors want to share the place with their readers, not the writer writing about it. A little "Marge and I" goes a long, long way in a travel piece.

Build a reputation

In order to capture those all-important repeat sales, you'll need to convince your editors that you're reliable, factual, and prompt, as well as a damned good writer. You can do this by following these maxims:

• Never promise anything in a query letter that you can't deliver.
• Never miss a deadline without a very good reason, and then alert the editor as far in advance as possible of just how late you're going to be.
• Always fact-check your articles through diligent research at reliable sources before submitting.

Take care of this business first, and you can't help but be a successful travel writer. I guarantee it.

Overcoming "Stress"

Imagine a heavy barbell you've managed to bench-press up off your chest. Your arms are extended, but the weight remains at arm's length, exerting pressure. Now that you've been holding it up for a while, it's starting to quiver, you're beginning to sweat, and there's no one around to spot you. It's that hopeless feeling you may think of as stress: that you're running out of strength and energy, and eventually the weight is going to crush you.

Been there? There now?

As a clinical psychologist at the UCLA school of medicine for the past two decades, I've treated hundreds of men who feel the weight of jobs, families, and financial responsibilities bearing down on them. And I've helped most of them relieve the pressure by convincing them of one thing: Stress doesn't exist.

That's right. You heard me correctly. Stress will one day take its place in medical history as a disease we couldn't cure because it didn't exist. The idea of stress was first floated by Dr. Hans Selye in 1936. (Rather strange that no one noticed this "disease" before then.) Since its "discovery," we have cured polio and made progress with almost every cancer, yet by all accounts, stress remains in epidemic proportions. Those who suffer from it usually report one or more of the following symptoms: rapid heart rate, neck tension, lower-back pain, dry mouth, headache, loss of interest in sex, overeating, stomach distress, frequent urination, diarrhea, crying, insomnia, fatigue, sweating, and rapid breathing.

But these are not symptoms of that phantom disease, stress. Rather, they are symptoms of an emotion that's far more primitive. An emotion that originates in a pea-size part of the brain called the amygdala. An emotion that causes our hearts to beat faster, our muscles to tense, our mouths to dry, and our digestive systems to shut down (is this sounding familiar?) as we prepare to either fight or flee. It is the age-old emotion of fear.

When highly successful men describe the challenges of life, they seldom use the word "stress." Instead they speak like this:

"When you are running an institution, you are always scared at first. You are afraid you'll break it. People don't think about leaders this way, but it's true. Everyone who is running something goes home at night and wrestles with the same fear. Am I going to be the one who blows this place up?" --Jack Welch, former CEO, General Electric

". . . being scared to death was a condition of life in submarine warfare in the South Pacific. Being afraid is okay, if you are afraid with dignity. To a greater or lesser extent, fear is a part of the challenge." --Pat Riley, NBA coach

"Going on stage is part catharsis for me, but it is always trying to work out my own fears." --Robin Williams, comedian/actor

React Like a 3-Year-Old

Why do these successful guys use the word "fear" rather than "stress" when describing the same emotional responses we all share? Being scared is the language of children, but they're not afraid to use it. This isn't immaturity or weakness; it's honesty.

Children never say they're "anxious about the bogeyman" or "stressed about thunder." Rather, they recognize they can't control the world, and they acknowledge the resulting anxiety for what it is: fear. To learn how to handle fear better, they engage it by watching scary movies or dressing as monsters on Halloween. Rather than push the emotion out of their minds as adults often do, they learn to understand and, ultimately, handle it without being enslaved by the thing that scares them.

Successful men realize that the bigger the challenge, the more fear shows up. Like children, they accept fear as the price of being alive. Other men see fear as a disease or a sign of failure that's to be avoided at all costs. They don't think about it, talk about it, or even admit to having it. As a result, they end up depressed, angry, or fatigued, or become abusers of food, alcohol, or other people. Even worse, they may avoid pursuing their dreams just to avoid the essential emotion--fear--that they've labeled an enemy and are misinterpreting as stress.

In order to escape the symptoms of fear, you must admit to being scared. The more you desire in life, the more fear arises as the body's way of preparing itself for action. It's not a sign of weakness, but a signal of success and a call for courage. Assume that whenever you're upset or unhappy, there is fear underneath. There are only two basic fears: One is that you're not worthwhile or good enough to get the job, the woman, whatever; and the other is that you're going to lose control, such as in health or financial concerns. I'd wager that these fears underlie what many people think of as stress.

Turn Off the Alarm

But there's another facet to this. The fight-or-flight alarm system we all carry was designed to sound, create a response, and then shut down. When a deer is scared, it runs. When a lion is frightened, it attacks. But when a man is afraid, he obsesses about it and complains that he's stressed. He leaves his alarm system on, clanging. And the consequences can be deadly.

The healthy human response is, again, to do what children do. Reach to others for support. Men who do so live longer, have lower cholesterol, are more likely to endure crises without becoming ill, are more effective leaders, and have a greater chance of finding (and keeping) romance. Successful men have friends they can lean on in time of need.

Do you see the logic? The symptoms you're feeling are normal, healthful signals from a body faced with a life challenge (positive or negative). Our masculine culture values stoicism and independence, but what your body really craves is to draw strength from others.

So the next time you're feeling stressed, do two things: Identify your fear, and find people who can help you deal with it. You need emotional spotters, my friend.
Doing these two simple things will allow you to safely lower that quivering barbell and then push it back up many more times. You'll gain strength against the only enemy worth fighting: your fear.

Preparing a Writer's Resume

Call it a resume, call it a precis. Whatever you call it, make sure it helps you sell yourself to those editors who don't yet know you!

All of us have to do it from time to time ... cold-call on an editor who doesn't know us from Adam. Sure, a query letter works well when introducing our projects. But even when an idea for a book or a short story catches an editor's eye, there's always the nagging thought in the back of his mind: "Yeah, but can this writer really deliver?"

You see, editors hate taking a chance on a an unknown writer by tying up his time and resources, planning on publishing an article on the history of Amtrak, for example, only to have the writer fail to come through in the end. That's where a writing resume comes in.

A resume helps to sell an editor on you--as a reliable, trustworthy writer who deserves an assignment ... or, at least, a closer look. By reviewing your writing-related accomplishments, an editor can get a pretty good idea of whether or not you can be relied upon to deliver what your query letter or outline promises.

What's that, you say? You haven't had anything published? You're new at the freelance writing game? You haven't written much of anything before and don't have a real literary track record to follow? Well, don't be too sure.

Have you ever had a letter-to-the-editor printed in a local newspaper? Have you ever self-published anything like a book or a pamphlet? Have you published anything on a Web site or a home page?

Have you written promotional copy for a brochure? A church picnic? A service club? Have you done any book or product reviews, either for the print media or the Internet?

Have you entered any writing contests and won any awards? Do you belong to any writing groups, either amateur or professional? Have you helped anyone else out with his or her writing? Or perhaps critiqued someone's writing, either formally or otherwise?

Have you worked anywhere near a book, newspaper, or magazine publishing house? A television or radio station?

Have you ever taught English as a first or second language either at a school or at someplace less formal, either here or in another country? Have you ever shown someone how to write a more effective business letter or been asked to edit or re-write someone else's correspondence? Have you received any awards or compliments for your communications skills? And, by the way, what courses did you take in high school and college? Anything related to writing, communication, journalism, media, filmmaking, photography, etc? Were you an editor or a reporter for the school newspaper or yearbook?

If you've answered "yes" to any of these questions, you have a good head start on your writing resume. No editor wants to know that you were a member of the Skokie High School Chess Club, but someone will be interested in knowing that you helped write a brochure or a paper (call it an article, please!) on how to play better chess.

If you don't have any published material to show off, show off your unpublished stuff. If you've written seventeen short stories--but have nothing published yet--list the seventeen short stories. Most editors are more concerned about your being a quality writer who lives up to his word than a widely published one. Prove that you can do what you say you can and back it up with a writing resume that says you're both creative and industrious, and we can almost guarantee a by-line in your near future.

Writers Reveal : Why, How, Where, When

I get most of my ideas from some type of interaction with a child at any age group and any type of activity. Sometimes just floating on our flat boat on our pond with my son. While the sun glistens on the water and the dragonflies gently land on us. Also, listening to what kids are saying and "take the time."

--Karen



How: That’s a toughie, but I tend to like writing with a computer in front of me. Computers are convenient because it’s nice and neat and so easy to use. But, sometimes, there’s a downside. Some people can get stuck using a computer all the time, if you’re like me that is, and most writers are at some point. In that case, whip out the good ol’ pad and pencil; sometimes there’s nothing like them. A pad and pencil help me to forget all of the technology around me, and just really think about what I’m writing. Usually, my best writing comes from my paper-entries; whenever I get stuck on my novel, or even writing an essay for school, I always turn back to my faithful Steno-pad. And it’s ok if you start over several times in a notebook, DON’T tear out the pages, until you’re completely finished: you’d be surprised how several false starts can come together to form a beautiful beginning to your project.

Where: Well, for me personally, it’s wherever I feel comfortable at the moment. Usually, however that’s at the computer desk in front of my screen, but when I use a notebook, I’ll most likely end up on the couch or in a comfortable chair with my feet up and a nice cushion to my back. Not too comfortable, or you’ll get drowsy! But, a few times in the past, I’ve ended up outside, even in the tree house with my sibling. Wherever you feel like going at the moment, go. It’s the best advice I can give; don’t fret about it, just do it. Get comfortable, and let your mind unfold.

When: For me, most times when a thought pops into my head that I think is worth remembering. I don’t really have a schedule, though I do tend to write better at night or early in the morning. But sometimes, there’s no stopping me; if the dialogue I’ve been working on suddenly falls in place, I write it down, no matter what time of day. (I even halted my sleep at 11:30 one night and wrote down an entire conversation because I knew I wouldn’t remember it the next morning). It’s ok: if you keep weird hours, you keep weird hours, don’t feel bad. Writers have imaginations, and they usually don’t stop for rest.

Why: Now that’s the big one. I write because I love it, characters and places open up to me, new worlds are born. Ideas are sorted out, conflictions are solved, and life’s questions are one step further to being answered. I also like to write because I want to give people the joy and excitement that I get every time I open a beloved book. You know that feeling you get when Tolkien describes Aragorn and Eomer standing alongside each other at Helm’s Deep? Or when the Black Knight rushes into the burning castle to save Ivanhoe and the Saxon princess? That’s why I write, because I want to give people those characters to love and cherish, and those emotions to keep whenever they read my works. Hopefully, someday that will happen. But for know, I’m writing to improve and better what I do know, and to gain experience in the world of publishing. And people’s feelings about writing change. Sometimes you start out to get famous, and end up doing it just because you love it, even though you never get recognition for it. That’s alright, too. Write just because you love it.

-- Walker



How: I put pen to page before typing anything. Maybe something about scribbling in my own script is more organic or tactile, so creativity flows better. More likely that it is just habit born of necessity…I started writing as a child and only had a typewriter for eight years, which I had saved to purchase for myself on my thirteenth birthday, and I had a limited budget for correction tape and typing paper.

When: I write three afternoons a week while my daughter is at childcare, and at night after she goes to bed. Mornings are reserved for housework, errands, or rest. I have two chronic pain conditions, so pain or sleepless nights or medication side effects can throw off the schedule, but I stick to it as much as possible.

Where: My living room is the most uncluttered room in my apartment, and I feel more creative and able to concentrate there since it is empty of distractions that call to those who work at home. Then I go to my desk in a corner of the bedroom and type. When confined to my bed or couch, I write there and type manuscripts on a laptop. I move into a house soon, instead of sharing a one-bedroom apartment with my preschooler, which will afford me an office – with a door! It will include my big, soft (but not “sleepy soft”) wingback chair, where I can curl up my legs, place a steno pad on my lap, and draft manuscripts.

Why: I could say that for ten years as a corporate writer, I wrote because I had to, but that is not entirely true. I did, but I also created additional opportunities to write within my positions. Writing is a well-fed compulsion for me. I help with resumés and editing and proofreading because a lot of people have interesting experiences and ideas but stink at presentation. I write for parents because parenting is difficult, and sometimes we are drained of ideas and solutions, and need to know we are not alone in our struggles. I write for children because I love the optimism with which they approach life. I write poetry so I don’t implode. I write ten-page letters when my fingers are itching and I can’t think of anything else to write, just so I don’t waste the moment. I write because I love to write and it is what I do best. I write because my words are a legacy, and that is the closest I may ever get to fulfilling my delusions of grandeur.

--Brandy



Why: Writing is the skill I am best at but, more importantly, it is part of my heart and soul. I view words like a painter views paint. A painter creates a picture of beauty or heartbreak from paint while I do the same with words. Words, if used correctly and in the context of a situation, can provide a vision for people that will motivate the individual to take action. The best writing grows fine with age, just like wine.

When: I can write anyplace that provides inspiration. That may be at night, in the morning or in the afternoon. I prefer to write at night, however. Late at night I can think about what I have seen and can take the time to find the best words to say. Through experience, I have found that late at night is my best time for me to put in the right perspective what I have done, seen, or heard that day.

How: I use the old-fashioned method of paper and pencil for the first few drafts but then use a desktop PC for the final drafts.

Where: I can write in almost any setting but I am not a people person. I suppose you have to be to be a writer but when writing, prefer places with few people or a private hideway. My two favorite places are my home office with all my research books and my van. There is great inspiration in traveling to different places and writing about the different cultures you see.

--Mike



Why: I write because it has become a part of who I am. It’s like a mad addiction of which there is no escape. Writing is not just my job, it is something I truly love doing and I honestly believe that if I was ever into a position in which I couldn’t write, I would literally lose my mind!

How: Interestingly, and quite ironically, several years back I developed a repetitive motion injury. Yet, such an injury does not mean certain death to a writer. In fact, I use a speech recognition program to compose my works and such software allows me to avoid the constant strain of repetitious movement. I can’t tell you how thankful I am for modern technology!

When: I write professionally, so often times I have to write. Nonetheless, I also write because I love doing so and find that in the late night hours, when the entire house is quiet, I find my muse most active!

Where: I write wherever and whenever I can. For instance, sometimes I draft works in a journal or notebook and later convert them to text. Thus, I am free to write pretty much any where I want to. Sometimes I like writing outdoors, but most times I write in my home office. Finally, I always make sure that I either have a notebook or a mini tape recorder with me to document ideas; ideas can be slippery and I want to be sure that I get them as soon as they reveal themselves!

--Dayna



Why: I write because I have to. I see characters around me all day long, waiting to be used in stories. A few weeks ago there was a tiny old woman driving in front of me. She was going very slowly on the expressway, when a cop cut her off. Up ahead we both passed the cop, who had pulled someone over, on the side of the road. I watched as the old lady slowed down even more, and gave the cop the finger as she passed. She appeared to be quite a character in real life; imagine what you could do with her in a story.

When: I can write any time of day. I've gotten up at the crack of dawn to scribble down an idea I had, and I've stayed up late into the night, also.

How: I use my laptop to write. I also carry a small notebook with me to work so I can jot down ideas or snatches of conversations I overhear.

Where: I write best without a lot of people around me. This rules out coffee shops, even though I do go there sometimes. I usually end up people-watching. (But then I get some good characters out of that, so not all is lost.) I'm in my writing zone when I'm in my office with candles burning and music playing. The music can be anything from Enya to Metallica; whatever puts me in the mood.

--Lisa

Grammar Rules: The Power of Adjectives

Adjectives carry a fascinating role; they describe a noun. (A noun is the name of a person, place or thing, hence the common reference ‘a naming word’.) Adjectives can give nouns shape, color, even feeling. Take a look at these examples:

It’s a cold day.

Tony is a tall boy.

He was a con man.

The dog was scared.

In one word these amazing adjectives have conjured up a picture. What happens when we take the adjective out?

It’s a day.

Tony is a boy.

He was a man.

The dog was.

It leaves us with sentences that are useless, either stating the obvious or showing no clarity.

Therefore adjectives are necessary in creative writing, right? WRONG! Adjectives are so powerful that they tell us, the reader. I’m sure you’ve heard this before, ‘show it, don’t tell it’. This is my round about way of saying the exact same thing.

Showing instead of telling helps the reader experience. It can pull the author’s words from the page and make the story come ‘alive’. Perhaps the reader has been in a similar situation before and can relate, or the scenario may be completely foreign to the reader but skilful wording creates understanding, and feelings. This is the writer’s goal, to create and allow readers to experience all the same things they are reading. It doesn’t matter how old we get; no one likes being told. So doesn’t it make sense when reading that we still don’t want to be told what is happening? We want to experience it right along with characters.

The commuters turned their coat collars up and repositioned scarves while the wind whipped around their reddening faces.

All the schoolboys in the back row except Tony had to stand on a crate for the class photos.

The salesman ignored my questions and continued his fast paced monologue.

The dog backed further into the kennel unable to peel his wide eyes from the explosion in the sky, his whimper drowned out by the New Year celebrations.

Adjectives are a great way to unblock your thoughts. Start off with a simple sentence, for instance: The star twinkled brightly.

Then play with it and watch it grow. It may, for a moment, turn into a single star fighting it’s way through a cloud to be seen, and then ‘hey, presto’, before you know it you’ve launched into a science fiction story, or a falling meteorite that threatens human existence, or another form of life, or whatever. Give it a shot, you may just surprise yourself.

Writing: Time to Exercise!

It can probably be said that everyone is creative in some way, but that is especially true of writers. As writers we tend to pay more attention to the things around us than most people do. We like to ask questions and think about people’s reactions and responses in certain situations. I’ve noticed myself that I like to concoct elaborate “what ifs” and imagine what would happen. Each update will offer a new writing exercise. Let your imagination go with these and see where they take you.

• Write down the titles of 5-10 novels, essays, articles, or short stories you have been thinking that you would like to write “someday.” Then pick one of the titles and write the first few pages or paragraphs of the piece that you chose. Write for fifteen to twenty minutes. Now you have a start to writing about something that really interests you, instead of having the idea swimming around in the back of your mind indefinitely.


• Find an old coat of yours or purse/backpack with pockets. Search through the pocket and write down all of the items you found. Example: 65 cents, one stick of gum, old bus ticket, receipt to Burger King, free coffee card, etc. Now create a short story using the items from the pocket to help create a character and drive the plot. What type of character would have a free coffee card? Perhaps a university student who drinks a lot of coffee and takes the bus to school. Try to include every item you found in the pocket as part of the story or character.


• Pick out someone at the grocery store, in traffic or somewhere else where you're stuck waiting. Take in the details of the person and try to memorize as many as you can. When you get home, freewrite all that you can remember about the person and then create a story about whom he/she truly is. That old granny in like with the dozen eggs? She's really a sky diving instructor! The man picking his nose in the red sedan next to you? He has a secret foot fetish and can't wait to get home to clean out his sniffer! Go crazy and be imaginative!


• This week, write your own creation myth. In short story length, explain something fantastic or mundane, for example: Carrots are really the hair clippings of Ares that fall from Olympus...and make it believable!


• Do you have a vivid emotional memory? Something sad, happy or even embarrassing? Go back to that moment/event in your mind and write it as a short scene in script/prose form, from an omniscient perspective. This is really good practice for when you need to convey your own character's emotions to your audience.


• As a young writer, I enjoyed writing about flying horses, time travel, and men who wore tuxedos. This caused a small problem for me. Some people, mainly geniuses, can create convincing stories about things they don't understand, but I can't.


• For years, I wrote terrible stories. And I bored every unlucky reader who was dumb enough to read my stuff. I knew they were bored, but I couldn't figure out why.
  
  Then the answer struck me one day while I was “swiffering” under my bed. I don't know anything about tuxedos. But I do know about dust bunnies. It may not be glamorous, but I can describe the gray, fuzzy puff of a dust bunny in great detail. I can explain just how dust bunny colonies pop up behind my sofa. And, believe it or not, readers prefer dust bunnies over my flat and lifeless old way of writing.
  
  Look around your room and make a list of five interesting objects. The list can include cracks in the wall, priceless oriental vases, or discarded Kit Kat wrappers. Describe each item, write about how the item makes you feel, and then try to write a story or poem incorporating these items.

The Art of Symbolism

His palms were already moist. The movie hadn’t even started yet and the hairs on the back of his neck were prickling. The intimate thumping in his chest had started again and his lips seemed to be extraordinarily dry and parched.

And the sixty-four thousand dollar question: what is this guy feeling? Is he A) pissed off; B) nervous; C) content; or D) smug. If you guessed B, then ding ding, YOU’VE WON!

The guy in question is obviously dealing with some anxiety worthy of the first date. How do we know? Because we’ve all been there before. We’ve all
experienced it, or at the very least, watched it on television.

The senses have always been the hardest to describe because everyone endures them differently. What does a lemon taste like? Sour. What does sour taste
like? Hmm, good question! We know from experience what it tastes like, and that’s all we’ve got going for us. So we have to improvise by describing.
Being surprised by something sour might make you pinch your face, or make your tongue feel prickly.

The art of implying and showing, rather than stating is called symbolism and started in the late eighteen hundreds onwards. It was called symbolism because they wanted to present the elements that it created, but not the symbol itself. Some of the most famous authors that truly grasped its meaning are Stéphane Mallarme (who wrote the symphonic poem to Debussy’s ‘Prelude to the Afternoon of a Fawn’) and Paul Verlaine, who were further influenced by Edgar Allan Poe.

Every once in a while, there will be those darn scenes that try to bail out on you, and try to go back to the easier way of stating things as they are. A simple trick is to list the senses and go through them one by one, imagining what it would be like, and not just assuming that the reader will get the same prickles of emotions when reading the facts. Facts aren’t nearly as fun to read.

All things considered, the more symbolic suggestions you make, the more your readers will relate to your situation. Anything to make the first date run smoother.

Plunge Into Complete Pretend and Don’t Panic

I can easily look around my neighborhood and get ideas. The older couple on the corner, how he seems to spend endless time in the garage and she never gets our names straight. The younger couple on the other corner, how she seems to work tirelessly and he always has a beer in one hand. Then there’s our "crazy" next door neighbors.

I could easily write a short piece about any of them, a slice of real life. But if I want to do something more involved, I need to find a stronger reason for staying there. l also need to give the reader a reason to stay.

I could interview each of these neighbors and find out they actually are fascinating individuals all on their own. Then it’s not fiction, though. It’s a magazine article. Plus, the gig’s up—they’ll know I’m watching them.

So I have to make stuff up.

Our next door neighbors intrigue me the most. A husband and wife with two young children. The mother and the children never go outside on their own—they only accompany the father. They travel as a protected group (safety in numbers?), in darker hours. I want to write about her, about them, but lately, I’ve been stopping short of what I don’t know. My love of the ordinary and the real has bred an apprehension of the imagined. Because now I have to plunge into make believe and make it—well, believable. Harder work. I don’t want to get it wrong, as if there is a "wrong." Because sure there is reality, but my fiction is this story’s reality. I just want to make it the "right" reality.

Because it is fiction, I do normally bend the truth: a shift in time, a change of personality, a line that maybe wasn’t so funny in real life. But with a longer, more complex piece, I must plunge into complete pretend and not panic. I hang on to real bits along the way: the style of the home, her hair colour, a name I think I can safely use. Bits of bread crumbs dropped along the way, like I need to be able to remember my way back.

But most important, I need a character based on Me. That is my strongest foothold. If there is a Me character (a nosy neighbor, perhaps?), then if I feel I’ve gone too far into the make believe world, I can always come back to her.

Of course, she isn’t exactly like me. Maybe she’s taller, maybe she speaks her mind more. Me but not me. She watches on the periphery. This helps calm the anxiety of going places unknown.

I’m not alone.

Applesauce, Alligators and Alliteration

Are you writing a scene that is moving as slow as a sloth? Is your essay only earning you an earful of exasperation? If so, try spicing your writing with a dash of alliteration.

You may be thinking, “I don’t want to over do it.” There is good intention to be cautious in this area, because you don’t want your readers to feel like you’re doing back flips to get their attention.

The trick here is to start using alliteration like you would use salt on a tomato. You want a little salt and a whole lot of tomato.

As you can see from this essay, titles are good places for alliteration. Humorous works can also gain a wispy, song-like quality from this technique. Don't expect the alliteration alone to make people laugh. Try saying something that is silly, yet true. Make people snort! And then sprinkle your draft with sassy samples of alliteration.

Keep in mind that serious works can also benefit when words flow together like honey. Read your work out loud. Does it sing? If not, try a taste of alliteration. As with all writing techniques, if your work feels like it is being forced, then delete it.

So experiment with words and expand your mind at the same time. Expect to write things that exalt! And remember not to over-salt your tomato.

How To Freelance While Working Full-time

If you are working full time and want to pursue freelance writing, the task can be quite a harrowing one. A fight ensues between Passion Vs Profession...one thinks of time management and the physical stress...whether its really worth it to sacrifice those few hours one gets to rest...The idea of being in command and turning my passion into a possible profession in the future came to me when I saw how disgruntled I was in a day job. I dreamt of the time when I would just be able to write at my pace and earn a living through it. Not all of us can take a decision to quit what we are doing and go ahead with what we want to do. So I decided to start small but maintain the consistency.

1. I began to keep a journal. Anything at all that popped into my mind translated into words and was penned down. Sometimes, they seemed silly and I began to doubt if it was a good idea after all...day-to-day happenings, frustrations, excitement, happiness, dullness—was scribbled regularly. What did this do? Apart from the usual venting out of emotions, it created a fluency with which I could write. No longer did I have to look up at the sky in want of better words. They just flowed in rhythm.

2. I subscribed to various sites that gave information on markets and contests. I especially liked the fact that most newsletters were written by freelancers who did it more out of a need for their own creative instinct rather than the pressure to make money through them. Now, I also had access to articles that gave me ideas on how to progress. I also joined a writing group with one small difference—all the other members were accomplished freelancers. What did I learn? I learned that some of them committed a few hours each day, whether they were tired mothers or desperate housewives! Commitment became my mantra.

3. I invested in a small notepad that I could extract immediately from the jungles of my handbag in time to catch that idea which chose to strike at ungainly hours. This meant that I began to observe things around me...when I traveled to work, during work, or even while doing household chores. When the time came, I simply expanded that idea into a story. This also earned me some curious stares in the bus as I would be seen writing vigorously as if to capture and bind a thought before it flew away.

4. Most importantly, I had what I call an excuser’s list—a list of reasons that one usually gives to procrastinate...to remind myself that time, money or tiredness was not a sufficient reason. Since I had chosen to do this dual role, I had better find the time and the energy to carry on with my passion.

5. Simultaneously, as I wrote a few pieces, I queried magazines and pitched to sell. Again, the newsletters and some of my own research came in handy. Success did not come in a month or two but I followed the above religiously. Dame Fortune had to smile and she did. At the risk of sounding preachy, my only words whether you are working on another job or not, would be: Be Committed.

Blog and Be Fruitful

Few years ago, I didn’t know a blog from a – well, I just didn’t know what it meant. My spouse the computer expert had to explain it to me.

That was all I needed. I signed up on a site and started four blogs. If I wrote enough I could make money, and I did – a little – but that was, as they say, “mad money”. I really just did it to keep the juices flowing and get the blood circulating. I could do some of the entries to rant and complain, because if there is ever a widespread human concern we all share, it is the belief that nobody is listening. Other blogs allowed me to be creative, write fiction, write non-fiction or a little bit of both.

The politics of this particular site forced me to give it up after about six months, but it was time. I had a slew of blogs in files marked ‘journal’, ‘romance’ and ‘sports-related’. I had crude material that I could now work with, mix up, improve upon and eventually send out. It also gave me endless ideas just re-reading what I had written from day to day.

I recommend blogging to anyone. A friend of mine who never did it until recently is now heavily into her Buying a House blog and sends it to all of us so we can share in her agony (I suggested she leave me off the list when she starts her Looking for a Job blog). While she isn’t a writer, she is feeling the need to rant and to share, and this is helping her through a very painful process. She’s also inspired me; chances are, when I next write about a couple searching for a home, she might notice some of her own past experiences snuggled up against some of my own.

It’s the public domain, right? I rant and blog regularly on my own web site now. It feels good, makes me write every day, and always leads to other ideas.

You could write under a pseudonym and not tell anybody about it, but if you do find the best site for yourself and decide to blog and let others know, you must let yourself go. Don’t spill your guts completely, but don’t self censor to the point of boredom.

There is something very comforting in knowing that others will read your sputtering, that you aren’t just yelling at four walls and having it bounce back at you. Get it out there, and you might end up with a gorgeous gem of an idea that you would not have considered by just staring at the blank page of a Word document.

Reach, Match, and Safety

When I applied for colleges, counselors and admissions officers advised us to sort our prospective schools into three categories: the reach, the match, and the safety. The reach is a school that you would love to go to, but to which the odds of acceptance are somewhat low. The match is a school you’ll probably get accepted to, and the safety is a school for which you’re an absolute shoe-in. It’s not a bad system for publishing, either, except there are no minimum SAT scores or GPAs to guide you.

Consider the match first. Your match is the level at which you currently publish. You may get some rejection letters, but more often than not, your work receives acceptance. Don’t know where your match is? You’re not submitting enough. Experiment a little. Don’t take rejection personally at this stage; you’re trying to zero in on the level and type of publication you should submit to. Once you’ve got a decent feel for the match, you can consider the reach and the safety.

If you’re just starting out, your reach is probably not the New Yorker, not even close. When I began trying to publish, I sent poems off to TriQuarterly. They were rejected. I was devastated, but I shouldn’t have been. TriQuarterly was way beyond reach for me. Your reach is going to be a publication a couple notches up from the ones you currently write for. They may have a larger circulation, better pay, or higher reputation. They may be a small print publication when you’ve only been writing for websites so far, or a national magazine when you’ve been writing for regional ones.

Your safeties are the publications who love you. They’re pretty much a sure thing. If you’re just starting out, they may be non-paying gigs, publications you submit to in order to build clips. If you’re a little further along in your career, they’re your source of steady income – a regular magazine column, for instance.

As you build your writing career, you should probably regularly submit to all three categories – it’s a bit like diversifying an investment portfolio. As you gain skills, experience, and clips, your reach, match, and safety will change. Work on stepping up to the next level, reaching a little farther each time you write.

How to Make a Writing Schedule and Stick to it

When my friends and I have our “what did you do this week?” conversation, they roll their eyes when they hear that I went shopping with my wife, I read a book, I had a nap. Oh, and somewhere in there, I wrote and sold articles.

Although I enjoy doing many things during the workday (that my friends cannot do at their “regular” jobs), I do have a schedule that helps me get the paid work done. If I didn’t, I wouldn’t have the freedom to do those other things.


Schedules aren’t bad

Creative people often shun schedules as a regimented controller, preferring to let their whims help them complete their writing tasks. I’m a creative person, but I used to work in a highly structured sales environment, so I know what can get done with a well-thought-out schedule. When I became a full-time writer, I took with me the strict adherence to a schedule that helped me become a successful writer instead of a struggling one.


Making a schedule and sticking to it

If you want to make a living as a freelance writer, having a schedule and sticking to it is one of the keys to being successful. Without it, you end up defaulting to what is comfortable and easy to do. Here are some tips to help you make a schedule and stick to it:

Use a short-term/long-term planner combination. One of the best planner combination is a daily planner and a monthly calendar, or a weekly planner and a quarterly calendar. This way you can see what you need to do right now… and what deadlines are coming up.

Set goals. Rather than fill your calendar entries with “work on book” and other open-ended projects, fill your calendar with specific projects like “complete 2500 words in 2 hours” or “outline next chapter in half an hour.” If you fill your day with goals and add rewards to each goal, you’ll find your writing will improve and your jobs will increase. Set goals to send your resume to a certain number of companies in an hour. Set goals to research, outline, and finish an article in a specific amount of time. Then, strive to achieve and improve on those goals!

Make sure you have a due date. Writers will tell you that jobs without due dates don’t get done quickly. When you have a job from a client who says, “just send it whenever you’re done,” create a due date and stick to it.

Devote at least a quarter of your time to marketing. This often-overlooked tip will make or break freelance writers. Many professionals fail because they are strong marketers out of the gate but when work picks up, their marketing slacks off. Once the projects are done, there is nothing else to do. Having too much work is a risk that is easier to deal with than having too little work.

Break down assignments. When you get a job, break it down into the tiniest steps possible and assign due dates for each step. It’s easier to work ahead than to try and catch up.

Devote half an hour to improvement. Whether this means that you read the dictionary or head to the library to browse, you need to get better but you don’t have an HR department scheduling training sessions for you. You’ll get more jobs because of it.
Devote an hour to unpaid/low-paying jobs. There are two kinds of unpaid jobs you need to do: The kind you can do well already but should do to keep your name out there and to balance out the karma in the universe. The other kind of unpaid/low-paying writing is the kind that you don’t do well but would like to improve, since the experience will help generate a portfolio of clips.

Prioritize your jobs. When you are finishing up your writing for the day and you have your list of tasks to do tomorrow, pick the top 3 jobs. Then, the following day, make sure those get done before anything else.

Do the hard things when you’re at your best. Figure out when you are at your very best, and spend the first part of that time on a hard job you’re reluctant to do, and the rest of the time on something creative you enjoy doing.

Rewards. In the “real world,” people complete the tasks that make up their job in order to get paid… and to keep from getting fired! As a freelancer, it’s easy to put off the projects you don’t like, so get them done by giving yourself little rewards: a chocolate bar or a nap or getting off early and going to the mall.

One of the reasons you chose to become a freelance writer is the freedom it brings. But without a little structure, you have chaos, not freedom. A chaotic workday does not help you accomplish as much or enjoy your job as much. A workday with structure gives you the freedom to get the work done, get more work done, and maintain a lifestyle you want to live!

Re-Writing Tips

Even great writers can’t sit down and spill out a masterpiece on their first try.

That’s why writers use anywhere from one to three hundred drafts. Drafts are like a rehearsal for a play. You write everything down. You figure out what works and what doesn’t. And then you re-write until your piece sparkles.

Here are some of my re-writing tips:

First, read your rough draft out loud. If your writing sounds choppy, then fiddle with the words until the sentences roll off your tongue.

After your work sounds nice, put it away for a small amount of time. I would suggest twenty-four hours. When you look at your writing with fresh eyes, you are going to catch mistakes and you’ll be able to fix them.

My final editing technique is: cut about one third of your word count, no matter how long the piece is. When you force yourself to cut words, you realize how many extra words you used without knowing it. Those extra words act like fat on a nice piece of steak. You need more steak and less fat.

So here’s my challenge. Write your first draft from the heart, but don’t throw it away. Work on it for a few days. I promise your writing will improve in leaps and bounds with just a few drafts.

Writing Down the Funny Bones

Yesterday, for the first time, I noticed that I really like other writers. I mean, really. Joining this website, reading about Julie’s potato gun and the Cajun dog (please see the Humor forum), and coming across blindingly funny quips in the novels I’m reading made me realize just how outrageously hilarious we are. It also got me thinking about why we’re so amusing. How is it that most writers have an unfailing, uncanny sense of humor?

The thought plagued me most of last night and today. This afternoon, in an attempt to abandon rational thought for a while, I decided to take a long bath. While I was trying to have an erotic date with Dean Koontz, courtesy of the showerhead, the lead to my latest (unrelated!) story suddenly came barging into my precious fantasy. Internally, I pled for it to leave, while capturing glimpses of Dean, but the mental editing continues and overtakes me. My lead drags its anecdotal ass so entirely into the picture that Dean gets frustrated and leaves. By the time I get rid of the damn thing (only after much cajoling and a final agreement that yes, I will use fewer adjectives), I’m stuck with images of my boyfriend again.

Then it hits me. This is why writers have an unflagging sense of humor. What other normal (read: sane) person would have a flow of words and sentences intruding upon her, um, private time? What other normal person would happily wear a ten-year-old, out-of-style sweater to family gatherings at the holidays and smile through abusive questions like, “So, darling. Have you found a real job yet, or are you still playing on the computer all the time?” Who in his right mind would receive hundreds of rejections, yet still plug away and do the same thing over and over and over? What healthy female fantasizes about Dean Koontz instead of Brad Pitt?

At the mere mention of a 9-to-5, our knobby knees, skinny from lack of food, start knocking and sweat breaks out on the upper lip. Friends tease us and say, “So how’s that book coming, Champ?” Significant others adopt an eye-rolling, nodding routine when we start spouting off how we will be the next Alice Sebold, or how Stephen King’s fame is just one draft away.

In order to persevere, we’ve adopted the most dependable and resourceful defense mechanism we possess. We learned that if we didn’t laugh at ourselves, we’d get sucked down into such a deep depression that Eeyore would seem like a Doodle Bop in comparison; so we started making funnies. We became likable. Some even called us witty or charming. People got used to our outrageous behavior and started calling us “eccentric,” as they smiled indulgently at us.

All the while, unbeknownst to them, we’re thinking. We’re plotting. The words flow almost unceasingly through our heads as we wait to grab hold of the perfect phrase or sentence. People haven’t a clue they’re being studied and used. The only difference now is that instead of villains, we might make them hookers on a street corner. If they call us “sweet” and “funny” just enough, they might get upgraded to selling newspapers or Frappucinos instead of poonany.

Maybe that’s the real reason we all walk around with smiles, ready for a good laugh. We have the freedom to create lives out of anything and anyone we see and to be as ridiculous as we want in the process. So while they’re sitting ‘round the Christmas table in their Roberto Cavalli dresses, sneering at our outdated sweater and more so at our careers, we’re secretly plotting revenge. We’re going to write about them…

“So, Aunt Mildred, what do you think of transvestite ballerinas with flatulence?”

How to Quit Your Job and Write Full-Time

Making the leap from hobby writer to part-time freelance writer is an exciting leap. You will always remember that first freelance job and the check you held in your hands. As you’re depositing that money in the bank, an idea flashes through your mind: “That job was fun. I should do it for a living.”

If the leap from hobby writer to part-time freelance writer is exciting, the leap from part-time freelance writer to full-time freelance writer is exhilarating… and scary! Here is a step-by-step process to help you make the transition painlessly and successfully:


12 weeks to go. Get buy-in. Make sure you have the support of your family and friends. And start saving! The first couple months could be rocky, alternating between dry spells and big checks.

11 weeks to go. Write for free. In your spare time, find free jobs that give you a byline and write for them. Give them your very best, since these writing clips will be part of your portfolio in the near future.

10 weeks to go. Contact city hall to find out any laws or regulations concerning a business name or business number requirements. Government bureaucracy is a long process so start early!

9 weeks to go. Count the cost. Create a business plan and budget, including financial goals for the first 12 months and how many jobs at what price will be needed to reach those goals. In the next few weeks, as you write your free articles, you’ll see what kind of workload is needed to sustain your goals.

8 weeks to go. Generalist or specialist? Decide if you are going to specialize or not. Some people find specialization very lucrative while other people prefer the wide range of opportunity of generalization. You may find the decision to specialize easier if your current career is highly specialized. If you choose to specialize, begin focusing your free writing in your area of specialty.

7 weeks to go. Get equipped. Make sure you have the tools necessary for the job: a computer, a fax machine, and a place to write. Doing this early makes sure the bugs are worked out of the system and that you are committed to spending money to succeed! You don’t want to send the computer back to the store to fix some problem while you are supposed to be earning an income off of it.

6 weeks to go. Enhance your portfolio. Get the contact information of your clients and vendors as well as copies of documents you created at your job. (First, though, make sure it is not illegal, as some jobs have a confidentiality factor that will bar you from doing this).

5 weeks to go. Start the hunt. Let your free writing gigs know that you are making the leap to fulltime and would like to give them the first opportunity to book your time. If they like your writing and are able to pay, keep them as clients. If not, graciously wish them the best of luck and move on, but keep up one or two jobs so your clips stay fresh.

4 weeks to go. Pull it all together. Decide on a slogan, logo, and a unifying theme or message you want to relate to the public. Get opinions on these ideas from people you trust to be honest.

3 weeks to go. Make yourself look good. Now that you have your logo, tagline, and theme, you need to design your web site, put together your portfolio of clips, and create a writer’s resume.

2 weeks to go. No turning back. Give your notice at work. Most places require two weeks.

1 week to go. Flip the switch. In television production, it is called “going live.” Sign up at job sites, guru.com, or elance.com to start getting the jobs and begin trolling the job boards for opportunities.

Day 1. Sit back and smile. You have gone farther than many people who simply dream of becoming full time writers.

Day 2. Get to work!

Tapping Into Your Daydreams

If you want to write, first you need to relax. Flex your fingers. Pour a cup of hot chocolate. Let yourself daydream.

Okay, I know you want to get published. You want to make money. It’s a tough market out there. Shouldn’t we writers bust our behinds to crank out stories?

Yes and no. Yes, there’s a lot of work involved with writing. Yes, I make myself write everyday. And, yes, I make myself revise. But my first step is always to relax. I don’t believe the act of writing should be stressful. There are tons of stressful careers to follow: astronaut, FedEx delivery person, bear trainer. With writing, all you really need to do is sit and string words together, so why not have fun with it?

Your audience will know when you’re having fun. And they’ll be bored if you’re bored. So during your first draft, let yourself go. If you want to write about jeeps on the planet Jupiter, then do it. If you want to use words that only start with the letter V, well that would be hard, but do it because it makes you happy.

If you love to write, then give yourself those precious hours of joyful creation. Edit later. You need to write at the top of your game to get published, and you can’t do that if you sit at your desk biting your nails and worrying about the future.

So relax. Now go forth and create.

Rejection Letters - A Sign of Recognition

Rejection, defined in the simplest of terms, is a negative response, resulting in denial, or a dismissal. In the writing world, however, a rejection should also be taken as a positive. Yes, you read correctly.

From beginning writers to seasoned professionals, we all have a fear of the infamous Rejection Letter. These letters of denial should not be feared, but on the contrary. They should be celebrated. They are, in essence, a certificate of acceptance from our writing peers.

As humans, from infancy to adulthood, we all strive to be recognized. Acknowledgment of our existence is a very important part of our growth experience. The same is true for writers. A negative response is better than no response at all. The feeling that your creative prose is being read, and responded too, is in itself acceptance. There are, in some instances, editors and publishers who are eager to offer explanations, and quick tips for future reference in their letters, which gives a writer the ability to learn and grow.

One of the first things we are taught as beginning writers is to always be professional and courteous. Sending a note of thanks to an editor or publisher, whether you received a denial or an acceptance, is proper etiquette. It shows maturity as well as respect for the trade. This also leaves the door open for future communication.

While it is true that there are some editors and publishers who choose to use a derogatory tone in their responses, do not fear. This is a very rare occurrence; but unfortunately, it does happen. Most responses you will receive, however, are mostly polite, and are occasionally informative.

Editors and publishers are very busy people, dealing with numerous amounts of submissions on a daily basis, which leads to long hours and tremendous amounts of stress. Therefore it is commonly stated in the submission guidelines that no response means a rejection. That is great. This information allows writers to move on, and pursue other possibilities. Unfortunately, other publishers do not offer this same professional courtesy, which leaves beginners feeling inadequate and wondering what they did or did not do.

Be wary, these unprofessional members of the craft are not implying you are a bad writer. Our inner critics do not need any more encouragement. Take a deep breath, and just know that most of us respect the craft, and all it has to teach and offer.

So, the next time you receive an infamous rejection letter, heed these words: be proud, learn from it, use its words as fuel for the creative fire, and walk away knowing that you have just been acknowledged as a writer.

Fiction writers know the secret: write as if.

I’ve contemplated writing articles about organization, cleaning, and time management for us creative types. I have great ideas, fresh ways of looking at things. But then I look around the apartment.



Uh, maybe not.



I’ve thought about writing an article for a women’s magazine that I’ve been published in before. The next issue is about the body. I’ve trained in the martial arts off and on for years, and would like to write what I’ve learned. But then I look down.

Not with this belly.

There’s the old saing: “Write what you know.” A part of me translates that into “Write what you can document that you know.” It’s the perfectionist, the part of me that likes to cover my butt. If only I had this place all tidied up, stopped procrastinating, and turned into a minor Martha Stewart, then I could write about getting organized. If only I were in the shape I was in three years ago, I could write about loving my body.

Truth is, if I wrote my reality at this moment, there would be precious little to write and I’d bore myself and my readers. But fiction writers know the secret: write as if. It’s not the job of fiction writers to live their characters’ lives so they can write about them. In some genres, like fantasy and science fiction, it’s downright impossible. Likewise, it’s not our job as non-fiction writers to be model citizens, superheroes, and experts. Writing, at its best, is a discovery process. Write authentically and accurately by doing thorough research. Ask lots of dumb questions. Think things through. Run your piece by someone who does know the subject, if you must. Then, send it out. I dare you.

The Case for Writing Short

Like me, you probably dream of writing full-length feature articles...or even a book. Also like me, you’re probably also scared of the prospect. While short pieces rarely gain the fame longer works do, there are good reasons to write them.

The case for writing short works:

• They’re less daunting than longer works. Most of us can even tolerate our internal critic for the length of a short piece.
• If you lose interest in your subject, you only have to slog through a few hundred words.
• They can be wedged into available time. I write them on my daily transit commute.
• They must be tight; every word counts more. This makes short pieces excellent editing practice.
• They build writing momentum, making us brave enough to tackle longer projects.

Best of all, short articles can be assembled into a longer work. Many newer books follow this format. The Don’t Sweat the Small Stuff series is a good example, as are Jennifer Lawler’s Dojo Wisdom books.