Journalists

Full-time journalists can expect to earn a living wage, averaging around £24,000 a year. For a discussion of how salaries may increase over your career visit the Graduate Prospects website. Freelance journalists are likely to earn considerably less and £12,000 a year or below is fairly common (although higher earners do exist). However, what you lose in money you gain in time and freedom. For details of what freelance journalists in the UK can earn, please visit the National Union of Journalists website. Be aware however that employers are not compelled to pay these fees and that smaller media companies, where you are likely to get your first paying work, frequently pay less.

Prose writers

For more creative writing  the average annual earnings from writing alone is around £5,000. This includes average royalties from published novels and PLR fees (a small percentage you get when someone takes your book out of the library) and fees for published short stories. Most writers have to supplement their earnings with other jobs. The most common include teaching, lecturing and leading creative writing workshops. But any job will do as long as it is flexible and gives you time to write. A friend of mine has just taken on a job as a dish washer in a cafe’ while he finishes his novel. Another writer I know is a street sweeper. He says the early morning rides on his sweeping machine give him lots of creative thinking time. For a realistic overview of what creative writers can earn, visit the careers advice website. If the thought of earning so little from your writing horrifies you, then perhaps this is not the right career for you. Most creative writers write because they love to and getting paid is simply a bonus.

Scriptwriters

Writing for stage, radio, TV and film can potentially bring in more money than prose writing, but professional commissions are few and far between and it is very hard to get your first break. Earnings start at around £6,000 for a full-length stage play (which could take you quite a few years to write, get commissioned, developed and produced) up to around £40,000 for a full-length feature film script that actually gets produced (you only get the full fee if the film gets finished; many don’t). This fee is for feature films with a total budget of over £2 million. Films with a budget of less than that will pay less to the writer. For further details of agreed rates for scriptwriters, see the Writers’ Guild website. Again, most scriptwriters have to take on additional work to keep them above the bread line.

Poets

I have never tried to earn money from my poetry. The reasons are two-fold: firstly, I don’t write enough poetry to make it a serious career choice and secondly, because I know that it’s the most poorly paid of all writing ‘jobs’. Even more than prose writers, poets do it for the love of words not the love of money. Many poetry presses simply give the poet some books to sell themselves.  For a discussion on poetry and pay visit Empty Mirror Books. Poets can earn a little by giving workshops and entering competitions for cash prizes. But the poetry itself, even if published, earns them next to nothing.

Self-publishing

I can guarantee that as soon as I publish this post I will be inundated with adverts and comments about people earning mega-bucks from self-publishing their own books or co-publishing (splitting the cost of production with the publisher). This is not as wonderful as it sounds and while a few people may make the big time, most people do not. For a fuller discussion of this topic, check out the pros and cons of co-publishing.

For a very interesting discussion around what writers earn that attracted writers from all over the web and a bit of a bun fight visit Can you earn money as a writer?

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The Writer’s Handbook tells me that ‘most prizes and awards are not taxable, though it depends on the conditions in each case’. But it doesn’t specify what these ‘conditions’ are.

I then found a helpful thread on the British Comedy Guide which says that the tax man differentiates between ad hoc wins and prize money earned by people who pursue writing as a ‘trade’. So I’m beginning to get a bit worried.

I then decided to bite the bullet and call the HMRC. They directed me to their website which gives me a very clear answer. The key it seems is whether or not the award is ’solicited’. If I didn’t enter my work into the comp and they just decided to give me the award (such as the Booker Prize; Best Young Playwright of the Year award – not that I’d qualify for that anymore!) then it would not be taxable. So damn, I’ll have to declare it. Grrrrrrrrrrrrr.

If you would like to find out more about managing your writing earnings, please see my post on finance and tax for writers. Please note this article was originally written for freelance magazine writers, but the same rules apply to people submitting fiction or any other form of written work for remuneration.

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How do you men actually read a ‘men’s magazine’ and just what is the market for male readers in 2010? Asking myself this question I gradually realised the nature of actually being a man has a lot to answer for here, as well as the ways in which so called ‘identity politics’ have fragmented and disrupted the very nature of masculinity and its once dominant presence in mass popular culture.

In these days of niche markets and sub-sub-cultures you most certainly have to be defined or targeted as a particular type of reader before you even pick up the latest copy of this or that, and on page after page your own desires and anxieties as that reader are satisfyingly relayed back to you. Or are they?  

Case study 1 – yours truly! – I am 31, white, largely middle/professional class in terms of job, flat, and the car I drive and to add insult to injury when I sift through the piles of magazines that seem to gather next to my loo or by the side of my sofa that identity is reinforced for me.

GQ, Esquire, Men’s Health and the occasional copy of Attitude or GT (the old title of Gay Times deemed to be just too ‘Gay’ these days!) give me back all that I seem to want out of life, love and happiness when it is branded, advertised and airbrushed. The reiteration and reinforcement of all that is stereotypically ‘me’ effortlessly sounds out page after page and it’s hard to resist the latest commodity that would either look great in my flat or even better on me.

I am also part of that demographic of men who are safe and appealing to the market because we buy, and there is nothing better than a savvy yet simultaneously seducible male consumer to keep the capitalist barometer going. I am also led into believing that I am unique, that this latest bottle of Tom Ford encapsulates who I am or that I really need a Paul Smith dressing gown and once again my role and my purpose is neatly contained and sustained for me. Phew, rant (almost) over but hopefully point conveyed!

But what of the men’s magazines that do not speak to me?  The ones I see arrogantly and seamlessly standing on the shelves of WH Smith’s but intentionally turn away from because they are too blatant, too laddish and let’s face it, just too degrading to women. The cheaply produced weekly ordeals in boobs, football and extreme injuries or activities in far-off (their words not mine!) uncivilised lands sell like hotcakes and the ways in which men are addressed could not be further away from the fashion and lifestyle-based stuff I consume.

But maybe that’s the key: the construction and aspiration for a ‘lifestyle’ or rather ‘lifestyles’ that can be viewed and manipulated from a distance. Men’s magazines (in fact all magazines) are just like pornography; they don’t answer back, they don’t laugh at you, they momentarily satisfy until the next desire comes along.

So what’s going on here? Not everyone draws out the same thing from the magazines that they buy and if they did the world would be incredibly banal, so looking again I tried to unpick what unites these very different sorts of men’s magazines and the place I got back to was not identity, not lifestyle but sex!

Thinking and looking – again the objectification of women and more blatantly men in the gay publications –  the assumption that readers are gendered and sexualised in a particular way seems to haunt each and every representation, article, photograph. Whilst social, economic and political roles and contexts have shifted we still as men, and probably more so as women, live with the problematic fact that ‘Sex Sells’!

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Reports, particularly company annual reports, aren’t high on the list of most people’s bedtime reading. They can be hard to read (though according to a 2006 University of Michigan study this might be intentional), and often tend towards combining tedium and complexity.

There are a lot of different types of report a freelance might be called upon to write, for a wide range of different audiences:

• reports from meetings and conferences;
• reviews of products or topics, such as green energy or influenza;
• annual reports on a company or charity;
• budget and credit reports;
• reports on an ongoing or completed trip, project or research;
• policy reports and recommendations for future planning.

To write a good report, the writer first needs to answer two questions:

1. who is it for?
2. what is it for?

Language and layout

The language used in the report will depend upon who the audience is – it’s no good writing complex technical jargon for a lay audience, or using overly simple language for a report intended for scientists or medics. The audience will also decide the writing style, whether it’s going to be formal or informal.

Because reports can be complex and very ‘information-dense’, the report still needs to be clear and easy to read, using active rather than passive language, keeping sentences short with one idea per sentence, and splitting blocks of text up into short paragraphs. The layout can also help the readability, including informative subheadings, which break up the page and draw the reader’s attention, and bulleted lists, which can make complex lists a lot clearer. Other visual aids include call-out boxes (a box containing supporting information), pull quotes (a bold quote, often in a larger font, that emphasises a point), graphs, photos and other illustrations. These not only support the content but also break up the page visually.

If the report is going to be printed, work with the designer if possible, to balance between the needs of the design and the message in the text – one can overpower the other if this balance is not maintained.

Style and content

Think about the purpose of the report. This will determine the content. It’s a good idea to research similar reports to get a feel for the sections required. Reports need to tell a story, so make sure that the sections fall into a logical order – this will also help the reader.

Obviously, the report should be accurate and internally consistent, because people may use it as a basis for important decisions. It should also be concise – if it is over-long, readers may never get to the end, where the important conclusions might be, or miss useful content in the middle. Reports should generally be objective, unless commissioned specifically to give a particular point of view.

Annual reports, especially those for publicly-listed companies or charities, have very specific requirements for content, and it is important to have these requirements clear before beginning writing.

And finally …

Reports don’t have to be hard to read (though they may need to be a little dull, depending on the audience) provided the writer keeps things clear, concise and simple.

A bit of extra reading

• Tips for writing non-profit and company reports (be aware these are US sites and requirements elsewhere may be different)
• Links to sites on writing reports and press releases
• And lastly, how not to write a report…

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There are a lot of different types of report a freelance writer might be called on to write, for a wide range of different audiences. They include

• annual reports for a company or charity;
• reports from meetings and conferences, including those looking at research areas or products;
• reviews of products or topics; and
• business intelligence and market research reports.

Like all freelance work, there is no simple one stop shop for finding all the work you need (but if you know of one, please let me know…). There are as many places to find work writing reports as there are types of reports.

Annual reports

PR companies are often responsible for producing annual reports for large companies, especially those listed on the stock market. Search on Google for PR companies in your area of expertise, or keep an eye out for PR job ads in the papers (the Guardian covers media and PR jobs on a Monday, or use its jobs website ), and contact them to see if they use freelancers. It’s also worth keeping an eye out for job ads for communications departments of companies that are in your field. PR freelance rates are generally quite good but writing annual reports is a competitive field to get into. Charities also produce annual reports – consider doing a couple for free to build up your portfolio.

Product and topic reports

PR and communications companies sometimes produce reports covering research on behalf of clients, perhaps showcasing the clients’ product and comparing it with other similar products. These can be based on published papers, or on presentations at a conference. Though often produced by staff writers, these reports can also be sent out to freelancers (and might get you a trip somewhere nice – or rather a trip to an airport and conference centre that might have a window that looks out over somewhere nice). Similar reports can review products in a market, or topics of interest such as ‘flu or green energy.

Business intelligence and market research reports

If you have an analytical brain and are good with numbers or markets, business intelligence and market research reports are a growing field – these are high-ticket reports used by companies to get background on new fields or new markets. Googling ‘business intelligence reports’ or ‘market research reports’ brings up a whole host of reports publishers, many of whom use freelance writers to produce the reports. Check out the ‘careers’ or ‘about us’ pages, which may include details of freelance requirements, or simply contact companies on spec.

Opportunities to write different types of reports also come up on PayingWriterJobs and Freelance Writing Jobs.

And finally …

Report writing requires organisation and an ability to meet deadlines, familiarity with the fields under scrutiny, comfort working with numbers and capacity to work alone and at a distance. But if you can do it, it’s an interesting market to tap into, and might even get you that view out of a hotel window!

Next week Suzanne will give us some tips on the nuts and bolts of report writing for when those commissions start rolling in …

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Occasionally poachers turn into gamekeepers, but few hold down both jobs at the same time. I’ve been a freelance journalist for 15 years, selling ideas to a variety of newspapers and magazines both in the UK and abroad. But for the last 10 years, I’ve combined my freelancing with a part-time job as a commissioning editor at a national newspaper.

So, to keep the countryside metaphor running, I see things from both sides of the fence. I understand and share the joys and tribulations of both freelances and editors. I know the frustration of spending hours, sometimes days on a pitch only to have it dismissed by an editor within seconds or, worse, get no response at all. Likewise, I know how tiresome it can be to wade through hundreds of pitches a week from freelances who seem never to have read your newspaper section.

There are no definitive rights and wrongs to successful pitching. Most of what you’re about to read is just my take on the subject: what I’ve found to be successful along with my own pet likes and dislikes. At the end of the day, commissioning editors are (mostly) human beings with different styles, opinions, backgrounds, prejudices and hang-ups. And the more you build up a relationship with them, the easier you’ll find it to tailor pitches to what they want.

 So here goes, in no particular order, my tips for successful pitching:

Know the publication that you’re pitching to inside out.

Make sure you’ve read the last half dozen issues cover to cover so that you’ve got a good handle on its style, feel, philosophy, and most importantly – the features that have already run.

Email your idea, don’t phone.

Most editors are busy, busy people. Assessing pitches is just one part of their job, and most editors like to do it at a time of their choosing – not when a freelance decides they have something to sell.

Pitch a headline, standfirst and summary paragraph.

There’s no need to load your email with much else, other than a few lines at the end about who you’ve written for in the past. Emails with large attachments like pics tend to find themselves deleted on arrival (often by automated spam filters).

Don’t pester.

Unless you’re pitching a news story that needs to run within the next couple of days, leave it a couple of days or even more before emailing or phoning to follow-up your email pitch. No-one likes a stalker.

Don’t overpromise.

If you want to build a long and (hopefully) profitable relationship with a commissioning editor, don’t pretend that you and your writing are something that you’re not. If your work doesn’t match the original pitch, your copy is headed for the spike and you can forget about pitching to that editor again.

Only once you’ve been commissioned should you ask about payment.

And don’t quibble about rates until you have established a track record with that editor.

Hit the deadline.

In my experience, the most successful freelances are not necessarily the best, most eloquent writers. They’re the ones who are professional and dependable. Reliability will improve your chances of more successful pitches.

Don’t hassle your editor.

Once you’ve filed your copy, don’t hassle for a publication date or a copy of the magazine to be sent to you and your granny. Like I said, editors have many things to juggle and you don’t want to get a reputation for being ‘high maintenance’.

Keep on keeping on.

Another trait of a successful freelance is persistence. If you don’t get a response (positive or otherwise) to your first pitch, try another idea, then another, then another. Hopefully with each knock-back you’ll be learning a little more about what the editor is looking for and refine your next pitches accordingly.

Don’t ask for ideas.

Don’t ask an editor “What sort of features are you looking for?” It’s your job to come up with the ideas! Editors aren’t in the business of providing employment for freelances. They’re in the business of filling big expanses of white space. Instead, make it easier for them by thinking of ways in which your feature idea could be packaged and illustrated by suggesting box-outs, panels, sidebars, pics and graphics.

Would you read it?

And always, always ask yourself the question: Is this a feature
that I would want to read myself?

Excellent advice Ian, and sorry I stalked you to get this article!

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I found this article on a blog carnival I participated in over on The Incurable Disease of Writing. Check it out for a great round-up of the best on the web.

And don’t forget that our free non-fiction writing course also offers you some ideas on what and how to write for magazines.

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For a British-based reality check, you should also check out my post on Can You Earn Money as a Writer?

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