The Writer - 04.2020

10 | The Writer • April 2020

FREELANCE SUCCESS

BY PETE CROATTO

S

everal months ago, I inter-
viewed Dave Blazek, who
draws and writes the Loose
Parts comic strip. As some-
one who draws a nationally syndi-
cated strip, Blazek receives his fair
share of criticism. He’s not bothered
by it. Anybody can make an accurate
criticism once, he told me. That
doesn’t mean you can draw a strip
every day no matter what – when
you’re sick, when you’d rather make
yourself the filling in a blanket bur-
rito and lose yourself in the pages of a
thick, great novel.
In short, you have to treat cartoon-
ing like a job.
The same mindset applies to writ-
ing. You know this, otherwise you
wouldn’t be reading this magazine. But
I think we also have to work at being
risk-free freelancers, people who can
contribute to the emotional and finan-
cial well-being of our families – and
ourselves – without subjecting them to
the whims of this crazy business.
To do that requires adhering to a
lengthy, diverse checklist.

☐ Overbook. Don’t be afraid to take
multiple assignments, because you’ll be
forced to stay busy. That’s better than
doing nothing, and you’ll have a cush-
ion when the inevitable financial crisis
arises – as well as the days off to recu-
perate from it.

☐ Be consistent. This separates the
dabbler from the serious professional.
Every day, you’re in the chair, putting
words on a screen, sending a pitch, and
putting forth the effort that puts you

The risk-free freelancer

Becoming a successful freelance writer means mastering both

emotional and financial components.

closer to getting paid or being pub-

lished. It’s unglamorous, necessary

work that will provide the requisite

discipline to do this job well.

☐ Fill the days with value. When

the writing lags, I do something con-

structive. I pay bills, grocery shop, hit

the post office. These little outings

make me feel useful, clear my head,

and keep the household from

descending into chaos. Sometimes a

break from routine is the right pre-

scription for productivity.

☐ Follow up on everything,

including when you get an

assignment. This happens. An edi-

tor will show interest in a pitch, and

then the writer fades away. What?

That’s like passing $500 on the side-

walk because you don’t feel like bend-

ing your knees. Follow up. Nobody

will do it for you.

☐ Recycle your pitches. Good

pitches take time and thought. If one

outlet doesn’t like a story, I am not

going to waste hours of effort because

of one “no thanks.” Pitches get

rejected for many reasons. The outlet

doesn’t have space. It doesn’t fit the

publication’s agenda. A writer did

something similar. It doesn’t matter. If

a story idea makes me giddy, I want

to keep it alive. That’s why I have

multiple outlets in mind for every

story. I feel like every pitch has been

rejected two or three times before it

found a home.

☐ If financial issues loom, address

them early. I do my best to keep

money coming in, but I owe it to my

wife to keep her appraised of my sta-

tus so we can solve the problem

beforehand instead of launching into

a dinner theater production of Who’s

Afraid of Virginia Woolf? when the

mortgage comes due. This happened

when I wrote my book. After all the

dues and debts and taxes were paid, I

had $14,000 left from the first part of

the advance. We thought that would

be enough until I finished the first

draft of the manuscript. Then I could

resume my freelancing schedule. The

money ran out early, and I needed

more time. What could have been a

calamity was only a problem because

Laura and I had discussed this. We

made some adjustments, dipped into

our reserves, and rode the rapids

As a father and

husband who

works from home,

I am on call.

I have abandoned

the writerly idea

that my talent only

flourishes in

perfect conditions.