You can’t write a nonfiction book proposal overnight. Even if you could, you wouldn’t want to, and here’s why: The preliminary research you do during the proposal-writing process will help you avoid costly mistakes and allow you to hone in on what you really want to write about. The proposal also helps you zero in on your angle and determine what fresh information you have to add to your book’s topic beyond what currently exists in the market. Finally, the finished proposal serves as a roadmap for your writing. Where a novelist has to write her entire novel beforehand, possibly floundering and second-guessing herself, the nonfiction author sells her idea based on the proposal, and begins the writing process armed with a detailed outline.

Although there are entire books and courses designed to teach you how to write a killer book proposal (and you should take advantage of them!) it’s helpful to get a rundown of what the process actually looks like through the eyes of seasoned writers, agents and editors.

Know the essential elements.

There is no one “correct way” to write a book proposal, but the essential elements include your title page, overview, chapter breakdown and sample chapters. The other aspects of the proposal, which are arguably the most important parts, are the competitive title analysis, market analysis and author expertise.

Though the basics are straightforward, the marketing section is where even the strongest writers may start experiencing a block. For this reason, Brian A. Klems, online editor of Writer__?s Digest, blogger, and author recommends starting the proposal-writing process with your sample chapters. “Not only does that give you the sample chapters you need for your proposal, it will also subconsciously give you a better idea of what you’re writing about. You’ll also have a better idea of what you need to do when you go into a bookstore or to Amazon to search out comparable titles.”

Jane Friedman, industry expert and co-founder and editor of Scratch Magazine, suggests beginning with your competitive title analysis “if you’re not sure of the market need or demographic.” She brings up another important point, “I think it’s also helpful to not just consider books as your competition, but also consider websites and free content that’s out there as your competition. If people are regularly going to a website for the type of information you want to put in a book, this can hurt the market for your book.”

Rachelle Gardner, literary agent at Books & Such also emphasizes the importance of market research. “You have to demonstrate that you know your topic inside and out, and are familiar with all the important books on the subject. Going through that process can actually change your whole book proposal.”

“Someone who has a brilliant idea for a book but a nonexistent marketing platform will likely be passed over for a better-known professional with a less brilliant idea.”

So how do you go about your market research? You can peruse Amazon for recently published or very popular titles that are similar to your book, or visit a bricks-and-mortar bookstore and study the titles on the shelf where you imagine your book would appear. Friedman suggests visiting the websites of books similar to yours to request advertising kits that show a book’s demographic target. She also suggests asking a librarian, “‘If someone came to you looking for this type of book, what would you point them to? What are the classics?’ That can give you a different angle, if you’re talking to a librarian who has been at that location for 10 or 20 years.”

Your expertise as an author and your personal marketing plan also play a huge role in your book’s desirability to an agent or publisher. Someone who has a brilliant idea for a book but a nonexistent marketing platform will likely be passed over for a better-known professional with a less brilliant idea. Although a social media following is extremely helpful, it isn’t everything: an expert with regular speaking engagements or a strong presence in his community may have just as much influence as a viral blogger.

Avoid these mistakes.

One thing Klems wishes he’d known ahead of time was that writing the proposal, even after having done most of the research, takes a really long time. “I thought the hard part would be writing the book, and that I’d knock out the proposal in one night. A friend of mine said no, don’t do that___ don’t hand it in, give it a couple of days to sit down and start going over it. This is your one shot, you want to get it as right as possible.” In light of how we writers tend to be perfectionists, however, he adds, “You always feel like you can improve, but at that point, you do have to cut yourself off and say, it’s time for me to put it out there.”

Gardner says, in her experience as an agent, the biggest mistake she sees authors make is having underdeveloped “Overview” and “Competitive Title Analysis” sections. Where extensive research will guard against mistakes in the latter section, you can improve your overview by having other people read it and give you honest feedback. “The overview is what you open up your proposal with, and it can make a huge difference in whether anyone even wants to keep reading,” Gardner says. “It’s very hard to do, and, in many ways, it’s harder than writing your whole book.”

“Though your book may have the potential to reach a wide audience, having a more specific demographic will make you more attractive to a publisher.”

Friedman highlights two mistakes newbie writers make in their book proposals. “One is expressing in the marketing plan that ‘I’m willing to go on Oprah!’ or ‘I’m willing to do book signings!’ It’s like, well, of course, that’s kind of a given that you’d be willing!” Instead, she advises, writers must focus on their existing influence, and what they can control. For example, she says, “‘I have an email list of 1,000 names and I will use it every month after the book release to do X’. Or, ‘I have already appeared at these three venues to speak, and I will pitch [them] to speak again during the year of my book’s release.'”

The other mistake Friedman observes is when writers claim their target demographic is “everyone.” Though your book may have the potential to reach a wide audience, having a more specific demographic, for instance, “moms between ages 24 and 30” or “frat boys between 18 and 21,” will make you more attractive to a publisher.

Make a good first impression.

Gardner compares you and your book proposal to a hopeful businessperson pitching his idea on the hit show, Shark Tank. “When you bring a book proposal to a publisher, you are exactly that person. You’re presenting your business plan and asking for money. So this must be a highly professional, very comprehensive, well-done document.”

It’s true; regardless of your high hopes, that book proposal is all you have to represent your idea, so take plenty of time to write and revise it. However, don’t let the process intimidate you. If your topic has fascinated you for a long time, you may find that when you sit down to write, you’ve actually been crafting your proposal in your head all along. You may have already done a good deal of research in your joy reading, web-surfing or sharing of interesting content on social media. If you’ve published articles or made speeches on your topic, you may be able to use some of that content for your book. Whatever the case, your book proposal is your first impression — and you know what they say about first impressions.

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

@AmandaLaymanLow.

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NEXT >> 6 Ways to Effectively Market Your Book

“I’m living my life on hold!” says Anjani Salonen, a recent graduate from Liberty University with a bachelor’s degree in communication studies and two solid internships under her belt. “My fiancé is in the same situation: He graduated with an advertising degree, works at a restaurant on the weekends and lives with his parents. We joke that his high school friends who went to work after school now have higher-paying jobs and have bought houses. It’s not really funny — it’s frustrating.”

Another young media professional “on hold,” Haley Veturis, graduated recently from San Diego State University. “No matter how many applications I send in to various media outlets, the outcome is the same — nothing,” she says. “What’s it going to take to stand out? I’ve built up accounts with various social networking sites and have even started writing a news blog. Is there any hope for a young professional in the media industry?”

A slow economy and massive layoffs in the media industry mean that competition is tough for young media professionals hoping to break in or move up. Many of these young people are finding themselves in a “holding pattern.” What should they be doing to break in or stand out? How can they make productive use of situations in which they find themselves on hold?

The bad news is that it is tough out there. The good news is that, despite tough times, some young media professionals are surviving — even thriving.

Best practices in standing out and moving up
Melissa Gullickson is an account executive with MassMedia Corporate Communications, a marketing communications firm in Henderson, Nev. Gullickson says that she is surviving in one of the hardest-hit metro areas in the country: Las Vegas. Her job search began at the end of 2007, and she moved up to an account executive position in mid-2008. Now she helps interview candidates, so she has seen “both sides,” she says. It’s important, says Gullickson, to know exactly what position you’re looking for and exactly what you can bring to the company.

Sarah Daniels, executive editor of JQ International Magazine, a trade publication for the International Jewelry Quorom, agrees. “The unifying feature about the freelancers I hire is that they usually approach me and, off the bat, tell me very specifically: what they can handle (‘available to write profiles, sort through press release or proofread Web content’); exactly when they’re available (‘can conduct international phone interviews after business hours’); how fast they can turn things around (‘am able to meet any deadline date beyond Feb. 19’).”

And, she adds, “If I don’t get back to them right away, the really good ones simply wait a week or two and email me again. Just because I don’t respond doesn’t mean I’m not interested — I’m just busy!”

“Just do something!” is the rallying cry among media professionals who aren’t quite ready to “just give up.” Esther Steinfeld, 25, works in PR and marketing and advises those looking for work in the media industry to “make whatever job they’re doing into a media job.” Instead of waiting for agency jobs to open up, take jobs working in a non-corporate retail store or somewhere you’ll have a little bit of creative freedom.

Whether you’re in sales, grooming dogs or sweeping floors, offer to write press releases, send emails and contact the media regarding the business. You can even try some event marketing. Your boss will probably be grateful for it, and you’ll get some valuable experience in the PR world, which you can put on your resume when things start to pick up again.

“When I finally have a budget to hire again, I’ll be hiring one of my loyal freelancers. The more I use their services, the more I find that I need them.”

“I’ve learned that the best way to learn PR is to do PR, so do it in any way you can during these difficult times,” says Steinfeld.

Kelly Watson, 25, also took a “just do it” approach: Three years ago she landed what she thought was her dream job as the features editor of a local arts and entertainment magazine. After a year of being on a part-time schedule with no promotion, she says, “I realized they were never going to have the money to hire me full-time.” So, she quit to start her own copywriting company.

“I started with zero clients, zero money and zero experience, and ended up making enough to purchase my own home by the end of that first year,” she says. Today, with the declining economy, she admits that things are a bit slow, but she’s not slowing down. “I’m using the downtime to work on a book proposal,” she says. “Just the process of researching the proposal and creating promotional materials has gotten me more work and helped me make more connections in the marketing and writing field.”

Those who find themselves on hold need to reach out and make themselves available, says Daniels. “The people getting the most work from me right now are the jack-of-all-trades, do-anything kind of folks.”

“When I finally have a budget to hire again, I won’t be posting a help wanted ad,” she says. “I’ll be hiring one of my loyal freelancers — the more I use their services, the more I find that I need them.”

How to come out on top
Roberta Matuson is a job search mentor and president of Human Resource Solutions, an HR staffing and recruiting firm, in Northampton, Mass. “This is a great time for media professionals to continue to strengthen their skills,” she says.

“Check your ego at the door and be willing to do whatever tasks are assigned to you,” she advises. “Volunteer to take on those jobs that others are shying away from. These two tactics will position you well as someone who will do whatever it takes to move the team forward.” These are traits, she says, that executives look for when deciding who will get to stay and who will have to go during tough times.

“This is the age of the Internet star — all you need is a computer, creativity, initiative and one idea.”

Lauren Milligan is a career advancement coach, and one of her specialties is helping people create work and opportunities during difficult times. “The best thing that media professionals can do right now is to utilize Web sites, video blogs, YouTube — all technology that is available to them. Conduct ‘man on the street’ interviews or a daily talk show that covers news stories and post these online. Find inspiring stories, funny stories, sad stories… anything that will capture the attention of an audience. I would encourage them to find that unique niche that someone isn’t doing right now and make it their own. This is the age of the Internet star — all you need is a computer, creativity, initiative and one idea.”

That’s exactly what Laryssa Wirstiuk is doing. She’s 23 and has one semester to go before completing her MFA in creative writing. She’ll be in the job market soon and says: “I have no idea how I’m going to find a job.” But, she’s not sitting back waiting either. She’s been putting all of her energies into Too Shy to Stop, an online arts and culture magazine that she founded last year. “My writers and I don’t make any money from this magazine, but it’s great experience for everyone! I manage about 15 young writers who aspire to find media jobs once they graduate. They’re mainly college students studying journalism, communications and writing.

“If I can’t get the media job I want right away, at least I’m still working on the skills I need to advance eventually,” Wirstiuk says.

Laine Cunningham is a publishing industry consultant and owner of her own writing business, Writer’s Resource. Cunningham says: “This business has historically been a tough one. The people who succeed have always been those who don’t give up.” Cunningham offers advice to young professionals in the current climate: One great way to stand out is to apply for awards. Awards are tracked by different media outlets and can generate interest and job offers. Create your own opportunities. Find an Internet-based outlet that is a good target for a weekly column. Internet outlets are hungry for content, and nailing a gig — even if unpaid — can increase exposure and prove that you’re capable and professional. Know your expertise. Stay focused on what you can truly do well.

Christopher Brown, managing editor of AMW.com, the Web site for America’s Most Wanted, says: “The media business may be slow and lots of our compatriots are being downsized, but for media pros, this is an opportunity to shine. By producing great content, continuing to do good work and staying positive in a very challenging time, you’ll set yourself up for success when the economy rebounds.”

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Lin Grensing-Pophal is a freelance business journalist and independent marketing communication consultant.

I’ve wanted to write a book since I was 8. The tidiness of it — 50,000 lovely words printed together on a pristine stack of papers, enveloped in a durable shell labeled with my name — appeals to both my literary and neat-freak sensibilities.

But when you unpack the realities of what goes into the creation of a book, it’s obvious that writing a book is actually the opposite of neat and pristine. Building up your social influence, organizing your ideas and laying the groundwork for your book proposal takes time. And that’s just the beginning: Writers are responsible for promoting their work for about a year following a book’s release.

I spoke to three industry experts, who weighed in on book-writing readiness, offering their tips and truths about what writers can expect in the early stages of the book-proposal process and down the line.

Ask yourself if you’re ready.

“If you want to write a book, you should write a book,” says Brian A. Klems, online editor of Writer’s Digest, blogger and author of Oh Boy, You’re Having a Girl: A Dad’s Survival Guide to Raising Daughters. However, Klems asserts you’ll be “in much better shape” if you’ve been writing for awhile, reading resources for writers and keeping up with the industry.

Rachelle Gardner, literary agent at Books & Such, states that you’re likely ready to write a book when you’ve spent years “thinking about [your topic], studying it, writing about it, both in your personal journals and in public spaces, possibly speaking to audiences about it, getting a degree in it or building a career around it.” Your own expertise is an essential selling point in the eyes of an agent or editor. Gardner adds, “You’re ready to write a book when you know what everyone else is writing about your topic, and you are confident that you have something fresh to add to the conversation.”

Additionally, when your audience demands a book, it’s probably time to bring your book idea to life. “If it’s your first book, then you should really be trying to focus on serving the audience you already have,” says Jane Friedman, co-founder and editor of Scratch Magazine. “Not that everyone needs a ready audience, but I usually say that when people start asking for it, it’s probably time for a book.”

So, ask yourself these three things: Am I a decent writer with some knowledge of the publishing industry? Do I have authority on the subject of my potential book? And, finally, is there an audience for my book? If you can answer “yes” to these, you’re probably ready.

“Writers shouldn’t expect their publishers to handle all the promotion. If you don’t care about your book enough to promote it, who will?”

Research and reflect.

Before you start pounding away at your book proposal, dream a little about your book to get a feel for its purpose — and to determine if you have enough passion for your topic to take it all the way. Klems suggests you ask yourself, ‘Would I read the book I’m going to write?’ It sounds obvious, but writers often get caught up in writing what they’re “supposed” to write (who among us hasn’t wanted to one-up F. Scott Fitzgerald?) rather than what they actually care and know about.

Klems recounts the time he started writing a novel, only to find, “I had an incredible problem with my plot. That’s when I realized I hadn’t done enough research ahead of time. And if I really cared and if I was as into it as much as I needed to be, I would have done that research.” When he finally tried his hand at humor writing, the genre he most enjoyed reading, he landed a book deal.

Gardner emphasizes the importance of leveraging your expertise as you hone in on an idea. “You’ve got to remember that what sells is what people want and need. Deeply analyze the market for books on your subject for what’s not being said. Where is there a hole that you and your knowledge can uniquely fill?”

Finally, a word of caution: making your book debut can solidify your position as an expert on that topic, which can make it difficult for you to branch out into other topics for future books. However, that’s not to say it can’t be done. Friedman, known for her knowledge of all things writing and publishing, published a satire piece and other essays that led to speaking opportunities. She believes “if the quality of what you’re doing is good, most people have some kind of crossover audience. People who come to them aren’t only interested in one thing all the time, so it’s possible.”

Manage your expectations.

Most writers are aware that writing a book is hard work, for potentially little pay. When asked what a writer can expect regarding how long it takes to do the actual writing of both proposal and book, Friedman responds, “it depends on your ability to commit to sitting down a certain amount of time per day or per week to do the writing or research. Some people have blocks, or they lack confidence, or they’re not approaching it with a professional mindset. They let the psychology of it get in the way. If you take away the psychology piece, if you can just sit down and write the thing, you’re probably not looking at more than a year of work.”

“For some, traditionally publishing a book is a stepping stone to more publicity, influence, or an increase in sales. For others, it is a milestone, the crowning achievement that proves you’ve ‘made it’ as a writer.”

Once you’ve written your book, you enter the editing phase. Gardner says, “the editing will be weeks or months of going back and forth and polishing your book, [before] the marketing and promotion phase.” And writers shouldn’t expect their publishers to handle all the promotion. If you don’t care about your book enough to promote it, who will? Gardner reflects, “I know a lot of people who were publishing 15, 20 years ago and they talk about driving around state to state with books in their trunk, going and shaking hands with bookstore owners and getting themselves on the radio. Even in 1995, successful authors were usually budgeting at least 50 percent of their time on the promotion of their books, and the rest on writing activity.”

As for the financial specifics, Klems, Gardner and Friedman all confirm that a typical advance (the money you get to keep upfront, regardless of your book’s sales) for a new writer is usually in the four figures. “It’s not unusual for someone with a really nice following online or some currency to their name to get $20,000 or more,” says Friedman. “However, for someone without as much of a media presence, a typical advance is under $10,000.”

The reason? With brick-and-mortar bookstores vanishing, publishers aren’t willing to risk as much money on new writers as they used to. But there’s a positive aspect to this: Modern publishers may offer greater royalties now than before. Klems says, “So while they may not be paying you as much up front, there’s greater potential on the back end if your book sells well.”

Decide how to publish your book.

For some, traditionally publishing a book is a stepping stone to more publicity, influence, or an increase in sales of a product. For others, it is a milestone, the crowning achievement that proves you’ve “made it” as a writer. As it becomes increasingly simple to self-publish books on digital platforms, it becomes increasingly difficult to get a spot on a traditional publisher’s book schedule — but that certainly doesn’t mean it’s impossible. However, do consider whether traditional publication makes the most sense for your book. Perhaps a blog dedicated to your topic would be ideal, or a series of short digital downloads, or a self-published eBook. Also, if your topic is extremely timely, your information may be irrelevant by the time it hits physical and digital bookstores through a traditional publisher.

One final note: Prepare yourself for the best-case scenario, too. If your first book sells and you find yourself in a multi-book deal, be ready for a rigorous cycle of writing and promoting more books. Gardner works with authors who, while they are working on the marketing and promotion of one book, “they’re in the editorial, back-and-forth process on another, and they’re actually trying to write a third book, all at the same time. That is a big job, and people who are in that space will tell you that their head is spinning a lot of the time, but at the same time, it’s their dream.”

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

@AmandaLaymanLow.

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NEXT >> Getting Started on Your Nonfiction Book Proposal

Dave Ramsey is the undisputed King of Personal Finance. His empire is built on best-selling books, a nationally syndicated radio show, an uber-popular podcast and ongoing speaking engagements and events that further evangelize his debt-free message. And if you’ve ever had visions of (finally) paying off all your credit cards and student loans, you’ve probably at some point heard his straight-shooter admonition that “If you live like no one else, eventually you can live like no one else.”

But in addition to being one the country’s most-respected authorities on the topic of money, Ramsey has also become an expert on the publishing industry — due largely to the four New York Times best sellers under his belt. He’s since channeled his know-how and resources into Lampo Press, his self-publishing imprint that spawned his own title, EntreLeadership, and two best sellers by former employee Jon Acuff. Here, the media mogul talks about self-publishing versus traditional publishing — and a book he co-wrote with his daughter Rachel.

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Why did you decide to self-publish your first book, Financial Peace?
When we did Financial Peace it was 1992, and it was certainly a different publishing environment than it is now. In those days, it was the Holy Grail to get a publisher, and we weren’t worthy. So nobody would publish us; that is why I did it myself. I went to a printer and had some books printed up, and I carried them home in my car. And then I couldn’t get any bookstores to buy them, so I got some video stores to carry them on their front counter, and I would sell them at speaking events, and I got on a little radio show and eventually we got them into bookstores. Then we issued a second version of it with a couple more chapters and an updated cover. And the total of all of that was about 147,000 copies. At that point, we were able to do a deal with Viking/Penguin and, of course, they were the ones that in 1997 — five years after carrying the books home in the trunk of my car — [helped get it] on The New York Times best-seller list.

Do you regret selling Financial Peace to a publisher?
No; it was just me. I was working out of my living room on a card table, and I didn’t have the PR muscle to get on the Today show or People magazine; they did. I was a [new] author; nobody had ever heard of me. I was on three radio stations when that book came out, and we’re on 533 now. But they did things for me that I did not know how to do. Now, I was overly confident — I thought I could do everything they could do. And we’d sold 100,000-plus copies over five years, but if we sold 263,000 in six weeks like we did with Viking, I couldn’t have handled the cash flow. I couldn’t have handled the billing and the purchasing. I didn’t know how to do that at that level. We were buying 20,000 copies a pop, but if you move a couple hundred thousand copies pretty quickly, that changes the game logistically. So I’m really glad I was with them.

“It’s important that the book is good, that you’ve got something to say and that you’ve said it well. A good friend of mine says that good marketing makes a bad product fail faster.”

What advice do you have for a new author who’s deciding whether they should self-publish or try to find a traditional publisher?
I think you have to have a plan if you’re in the nonfiction world to sell the book, whether you’re self published or you’re working with a publisher. If you’re looking to write a book and hand it to someone, and let someone else do all the work, those days are completely gone in our world, with very, very rare exceptions. So publishers are looking for an author that has a willingness to hustle and has a platform of some kind. How are you going to leverage things you’ve done in the past? How are you going to leverage your PR appearances, your knowledge, your Twitter base, your fan base on Facebook? It may catch fire and hit critical mass after that, but to move the first several hundred thousand copies, you’ve got to plan on doing that. It’s also important that the book is good, that you’ve got something to say and that you’ve said it well. A good friend of mine says that good marketing makes a bad product fail faster.

I think if you’re a new author and you have a really, really good platform, but you don’t have a business that does sales to bookstores and PR and that knows about shipping and billing and accounting and working with distributors, then you probably want a publisher. We happen to be big enough now that we do all of those things. But until you’re that size, you need a really quality publisher to bring the PR to the table and to bring the social-media strategy to the table. And to print the book, and design the book, and deliver the book, and bill the book, and collect the billing, and handle the returns. Just the logistics of a book can be a nightmare — but that’s assuming you’re aiming at a 100,000-plus copies. If you’re doing 5,000 copies, you can do them out of your basement, and you should. Don’t sell your book if you plan on doing 5,000 to 50,000 copies. Just do it on your own.

How did Lampo Press come about? Were you interested in maintaining more of the control and profits from your books?
Well, Lampo Press was, oddly enough, the original name that I published Financial Peace in way back then. But as far as our decision to go self-publishing now, as I said earlier, it’s no disrespect to the publishers, but we do everything they do. We can handle all of the aspects of it. We do outsource some of the distribution, but we’re the publisher and we’re the owner. And we just realized we were doing 99 percent of the marketing, and we were doing 99 percent of the PR, and we were controlling the cover, and we were controlling the look, tone, feel — and we were good at it. It was frustrating to the publisher because they’re used to wanting to do all of that, and we were doing it all. And it was frustrating to us because every time they did something, we didn’t like it. I’m happy with my publishing deals on the books that we’ve done thus far, but I don’t think there’s any question what our team can do with one of our books versus what any major publisher can do, at this stage of our company. Again, we’re in a very unusual, unique situation.

“Don’t sell your book if you plan on doing 5,000 to 50,000 copies. Just do it on your own.”

Smart Money Smart Kids, your book with your daughter, Rachel Cruze, will be released in April. Why co-author with her?
Well, she could have written it herself. She just did an episode of Katie with me, and she’s been a regular on Fox & Friends in the last year. She’s spoken to 300,000 college students, high school students and young mothers’ groups in the last 36 months, so Rachel’s become a personality and a brand in and of herself. We easily could have done it just with her. We decided to do it together for two reasons: One, we thought it would be kinda fun to do a father-daughter thing. And it has been fun. To have the father’s voice and the daughter’s voice in the book communicates the message and the lessons in a really winsome way. From a pure business perspective, we wanted to take the strength of my personal brand and use it to set her personal brand at a higher level by the time this project is over. So it was an intentional, strategic move to have a huge coming-out-into-the-marketplace party. And I can’t think of a better way to have her first book be a New York Times best seller.

You’re well known for your “baby steps” as applied to personal finance. How does that theory apply to the publishing industry?
I think that the question lends itself to the overall [concept] of ‘Just don’t go to market until you’re ready.’ A book is something that you should live with for a little while. I often pick up a book that I lay back down — and sometimes just throw in the trash — that I can tell someone did not spend any time on. There’s no love on the pages. There’s no excellence on the pages that’s due to their passion. Too many things in our go-go world, with the ability to publish stuff instantaneously, are not well thought out. They’re not well written, the outline isn’t there, the research isn’t there. It’s kinda thrown together and you can tell. And so I just encourage people [to] cook it long enough so that it’s gonna taste good. You don’t have to overcook it, but cook it long enough that it tastes good.

Andrea Williams is a freelance writer based in Nashville. Follow her at @AndreaWillWrite

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NEXT >> So What Do You Do, Michelle Singletary, WaPo Columnist and Finance Guru?

In just a few short years, former Disney Channel star Josh Ackerman (The All New Mickey Mouse Club) has grown his Los Angeles production company, Bodega Pictures, into a fearsome reality TV player. Together with partners Ben Nurick, Justin Daniels and Zachary Werner, Ackerman is responsible for South Beach Tow, currently in its third season on truTV, and the new Food Network series On the Rocks, which debuted Nov. 17.

Bodega has three other reality TV series in development, none of which Ackerman was at liberty to discuss at the time of his telephone interview with Mediabistro. However, he did share some great stories about his decision to move on from acting and how he was able to break into the extremely competitive world of reality TV production.

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How did you first become interested in the production side of the entertainment business?

It actually started when I was on the Mickey Mouse Club. I was always definitely more fascinated with behind-the-scenes versus being in front of the camera. When the director was calling cameras, if I wasn’t in a particular scene, I would be in the director’s booth. I was always so intrigued by how a story comes together. Or how a character resonates on screen. Those sorts of things I found extremely stimulating and engaging, and I always wanted to learn about that.

That’s why I decided to go to NYU film school, whereas a lot of the other kids who were on Mickey Mouse Club with me decided to go in different directions. It was always embedded in me that I needed to get an education. I had been in front of the camera, from when I was 11 till 17. That’s all that I really knew, and getting an education was extremely important to me.

What made you want to switch from being an actor to more of a content creator?

When I graduated from NYU and came back home to LA, I wanted to get back into the acting for a minute. I did that successfully. It took me a minute. I worked briefly as a barback at The Sky Bar, which was extremely humbling and fascinating — because you see the most fascinating characters.

As I started to get back into acting and generating money, I was able to just be an actor. But it just wasn’t stimulating enough for me, on many levels. I tell this story a lot, but as an actor in LA, you drive around to auditions. You can be in your car for hours upon hours, and you sit in these rooms and wait to be seen. At this point, I had started working with a producer in the reality space, just kind of assisting him and learning from him. I was really gravitating towards this.

“I was always more fascinated with behind-the-scenes versus being in front of the camera. If I wasn’t in a particular scene, I would be in the director’s booth.”

I went in for this commercial audition, where I had to wait for an hour and a half. And in front of me, the advertising agency people and the director in the room were basically calling the agents of people who had auditioned before me and booking them. In my head, I was kind of like, “What the hell am I doing? I just wasted three hours of my time, driving to this place.” I just didn’t see a finish line, and I thought to myself, “You know what? You’ve been doing this since you were 10 years old, just auditioning all the time…” And literally, that was it. They wanted me to audition, and I looked at them and I said: “Thank you so much, but I’m done.” They were like, “What the hell did this guy just say?” They were super shocked. But that was it; that was the end of the road for me for acting.

I called my agent, my manager and said, “Guys, thank you. I’m done.” And that was it. I never auditioned again.

How quickly were you able to get something going on the production side?

That’s the thing. With the producer I was working with, literally a week later, I was fortunate enough to be on a call with him, Logo [TV network] was just forming, and we sold a show to them about lesbian surfers. They gave us money to do a casting tape.

Back then, it was a little bit different, because you could still sell reality shows based on a piece of paper maybe, or an idea. They gave us five grand and said, go find these girls. So I scoured California looking for them. I went of Craigslist. I went everywhere, and I found a group of girls.

I went to Best Buy, bought a camera. And instead of making a five-minute casting tape, which is what most people do nowadays, I embedded myself with this group of women and turned in to Logo a 40-minute documentary. And that became Curl Girls [released in 2007]. They gave us money for one episode, and thought it might just be a doc. The episode garnered huge interest on iTunes, and [the network] ended up picking it up for a season.

How quickly did you go from this to forming Bodega Pictures?

One of my current business partners [Ben Nurick] was working for director David O. Russell [American Hustle, Silver Linings Playbook] as his main assistant. When Curl Girls got picked up, I called him up and asked him to help me with it. We were friends since freshman year at NYU and had written some stuff together, but hadn’t really pursued it further. And from there, we decided we wanted to start our own thing.

So, we went on Craigslist and got jobs off there, and started to build a name for ourselves. We took what little money that we made — my wife and I had bought a house in the San Fernando Valley — and we spent a few thousand dollars and turned my garage into our office. Another one of my partners, Justin [Daniels], joined us. He was just out of the University of Oregon. It was the three of us at the time. We did exercise videos, a little thing here, a little thing there.

How did you land the truTV series South Beach Tow?

We were fortunate enough to land a brand marketing campaign for a company called Oribe, which is a hair care line. We did these really high-end, sexy videos for them, and we also filmed these artistic director program events that the main hairdresser put on. They put up those event videos on YouTube.

I remember the call, because I was in a Ralphs supermarket. It was an unknown number, so I didn’t pick up. Lo and behold, it was Jennifer Lopez’s company calling because she worked with that hairdresser and she had seen our videos. Her TV department thought we were extremely talented and wanted to sit down with us, so we [met] with their development team and they told us to bring them whatever we had. Then they thought about us possibly doing a documentary on the road about Jennifer, but we didn’t hear anything.

“Reality TV is all about character. If somebody pops off the screen, chances are you probably have something.”

A little time passes and one of my other good buddies from New York [Zachary Werner] moves out, having worked on A&E shows like The First 48 and Manhunters. He joined us, and said that one of his friends from Miami, where he’s from, had just called him up and said, “There’s this family-run tow truck company in South Beach that would be a great show.” So we put some money together and sent Zach down there with a camera.

We shot this tape. We didn’t know what we were getting into, but the cast was unbelievable. That’s one thing I’ll say: Reality TV is all about character. If somebody pops off the screen, chances are you probably have something. These guys were bigger than we expected. We edited the footage, called up Jennifer’s company and told her about the project. Miami is kind of Latin, the family is Latin… We showed it to them and they decided to partner with us on the project. We went in and met with her agents at Endeavor [Production Group]. They told us they could sell the show in a week, and we’re going now into 60 to 70 episodes. Wednesday nights at 10 o’clock.

Moving on to On the Rocks, how did that come to be?

That came to us because, through our lawyer, we were introduced to John Green, who had an idea for a show. He came into our office and pitched us a good show, and although we didn’t think [it] was quite right for us, we responded to him. We thought he was a fascinating character.

Our agents usually introduce us to the networks… and hear what they’re looking for. And one of the things Food Network was looking for was something in the bar space. So we went and shot a pretty straight two-camera thing — what does this guy do and what is the show. He’s traveled the world opening bars and working for huge companies like The Four Seasons.

You can’t fool networks anymore. You can’t, for example, put a bunch of people together who don’t know each other and say they’ve known each other for 20 years. Same goes for today’s audiences; they can sense whether these people really know each other. When we did the pilot for On the Rocks, we learned that he was also amazing with people, and that’s how the show evolved into not only a makeover show, but also kind of a character repair [show], with qualities of intervention.

Justin Ackerman’s tips for reality TV show aspirants:

1. Trust your instincts: “My grandfather was really influential in my life. And he always said, ‘Know when something is done and move on from it.’ So make sure you recognize in your own pursuits when one particular path is no longer productive. I was 27 when I quit acting, and I knew at the time that if I was going to pursue reality TV, documentaries and hopefully film in the future, I needed to go for it.”

2. Recognize an opportunity: “When I [got involved with Curl Girls], I said to myself, ‘This is my chance. This is my opportunity to not have to necessarily start from the bottom and work my way up.’ It’s a rarity that you get the opportunity to prove yourself, so you have to seize those opportunities when they come along.”

3. Be willing to work hard: “Forming Bodega Pictures was one of those stories, where we just said, ‘We want to do it on our own, and we’re going to do whatever it takes to make it on our own.’ So we just went balls to the wall and sent out reels for anything that was a possibility.”

Richard Horgan is co-editor of FishbowlNY.

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NEXT >> How to Pitch Your Reality Show Idea

During summers in high school and into college, I worked part-time at a local travel agency. I vividly recall one afternoon flipping through pages of a national travel magazine, reading about faraway places that I’d never heard of, dreaming of visiting them one day. But what I recall even more vividly is the thought that stuck in my mind: “I want to do that. I want to be a travel writer.”

Fast forward 10 years. After graduating from college and trying out a few different jobs, I applied for — and landed! — a full-time travel writing and editing gig with a branch of a national travel organization. Accepting the position was risky — it required my brand new husband and me to move about 15 hours away, at our own expense. It was also risky on the part of my new employer, as I didn’t have travel writing experience, just the passion.

Unfortunately, the travel writing position didn’t pan out the way I had hoped, and I made another career move where writing was still the focus — public relations. Though my career went in another direction, I continued to write and began pitching myself as a part-time freelance travel writer. Editors bit, too — my first freelance assignment was with Women’s Health & Fitness, for which I wrote about learning to surf and rock climb.

Another 10 years or so of part-time freelancing later, I decided to focus more on my travel writing. A year ago, I decided to give up my fulfilling full-time job, working with a terrific group of people whom I respect, to follow my passion into the unknown. Today, I’m writing features regularly for duPont Registry, a lifestyle magazine in Tampa, and GirlsGetaway.com. I also occasionally contribute to the New York Post, Denver Life, Startle.com and more, as well as my own sites, travlingirl.com and newly-launched TheCoolAunt.com.

“I’m passionate about travel, and I love to tell stories that will not only entertain my readers, but teach them a bit, too.”

Here are some things I’ve learned over the years that may be of help to others looking to break into travel writing:

Do what you love. Writing, whatever type you may be doing, should come from the heart. When you’re passionate about the topic, it comes through in your words. I’m passionate about travel, and I love to tell stories that will not only entertain my readers, but teach them a bit, too.

Make valuable connections. Networking continues to be key, as with any profession. I’ve found that travel writers and bloggers are a strong community, and many of us introduce our colleagues to editors we work with if the fit is right. I’ve had the opportunity to write for a large daily newspaper, thanks in large part to a fellow writer I met on a press trip. And don’t forget to use social media for connections. I recently e-introduced myself to a new editor and her publication I’d read about on Twitter and made a few pitches I thought would be a fit — we’re now in conversation about assignments. It’s all about making the right pitch!

Market yourself. Years ago I joined Mediabistro’s Freelance Marketplace, and it paid dividends. Soon after I joined, the editor of an in-flight magazine contacted me via my profile, and I wrote a bi-monthly column for him for four years. I continue to be a member and update my clips regularly. You never know when an editor will be looking for a writer just like you!

Get inside information. I also read Mediabistro’s How To Pitch articles. Not only do I look at the travel-specific magazines, but also the lifestyle titles to find out how travel pieces I have in mind might fit into their books.

At the end of the day, as with all freelance writing, it’s about being innovative and finding unique perspectives on topics that have already been covered, and making the pitch. It’s sometimes scary, nerve-wracking and uncertain. But then again, what great adventure isn’t?

Susan B. Barnes is a freelance writer based in Tampa. Contact her on Twitter @travlin_girl.

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NEXT >> Balancing Your Freelance Life With Your Personal Life

Like me, you probably tuned in to the Olympic ceremonies, wondering how mortals could pull off such an awe-inspiring spectacle. Or perhaps on New Year‘s Eve, clad in pajamas, you’ve rocked out to the music and dizzying aerial views of shivering crowds in Times Square. Maybe you clear your schedule annually to catch the Super Bowl Halftime shows or the exuberant Victoria’s Secret fashion shows.

Regardless of your propensity for live television events, there’s a good chance you’ve tuned in to one (or many) of Hamish Hamilton’s ambitious productions at some point in your life. You have seen the end results, now here’s a peek at the hectic pre-production world of these events — from the perspective of this award-winning live television director and producer.

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Name: Hamish Hamilton
Position: Live event director and producer, Done and Dusted
Resume: His directing career began at the BBC in Scotland, and he has most recently directed the 2013 Victoria’s Secret Fashion Show, 2013 MTV Music Awards and Super Bowl XLVII Halftime Show. Next up for him is the 2014 Super Bowl Halftime Show. Hamish is also a Grammy, Emmy and 2013 BAFTA award winner.
Birthdate: April 8, 1966
Hometown: London
Marital status: Married
Media mentor(s): David Mallet, Julia Knowles
Best career advice received: Enjoy the way up, as the way down sucks.
Last book read: Tired of Being Tired, by Jesse Lynn Hanley
Website: DoneAndDusted.com

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How did you become the go-to guy for these huge productions?
I came into the entertainment world as a director at the BBC and became a live event director, which means doing an awful lot of music. As I’ve traveled through my career I’ve stepped sideways, from music to things far from music like the London Olympic and Paralympic opening and closing ceremonies. I’ve also done theater pieces. But my work usually involves an event that is live in front of a group of people, and sometimes also live on television.

What do your days and weeks typically look like leading up to an event?
I would say the minimum planning period is between six and nine months, but it can be multiple years. The first few months are lots of discussion. It’s so varied; there is no such thing as a kind of a standard show that I do, really, but six months prior we’ll talk about what the show will be, the design, the visuals, the narrative. If you have those down, you can get into more intricate production details like locations, talent, storyline and sets. For example, the Super Bowl took about a year to plan, while the Olympics took about three years.

In the few weeks before a big show it’s almost a 24-hour-a-day thing. So many things have to get decided, discussed, analyzed and executed. I know a lot of people who work in film; their timelines are a lot longer than ours. Sort of like a war of attrition, they go for weeks and weeks, weeks and weeks.

“If you take the timeline of a film and literally turn it on its end — that’s what we do because we have to make a huge number of decisions in a very small space of time.”

But if you take the timeline of a film and literally turn it on its end — that’s what we do because we have to make a huge number of decisions in a very small space of time, more so on rehearsal days, and even more so on event days especially if you’re live. The rehearsal days are intense, long, demanding, physically exhausting, mentally exhausting. You have to make very big decisions quite quickly. I try to get a lot of sleep. It’s crucial to be mentally fit on show day. That said, I normally put in between 14- and 16-hour work days.

Having done so many diverse projects, I’ve learned how to control my energy so that I’ve got enough left for the live shows — the last thing you want is to show up to direct a live show being completely and utterly exhausted. That’s really where you need to make lighting-shot decisions. Genuinely, it sounds ridiculous, but I get B12, I exercise and I relax because I have to; otherwise, I would just be anxious or have negative energy. I try to flip it on its head; I try to be the one on the production who’s smiling and happy and confident.

I think it’s really important to remember I’m blessed to work in this incredible field. I made a conscious decision on the Olympics [that] however unbelievably dark it might get, I wasn’t going to go dark; I was going to remain positive. I was blessed to be directing in my hometown, working for the Oscar winner Danny Boyle, who is a creative genius. He’s unbelievably talented and a wonderful gentleman, but he had some creatively and technically crazy requests.

What happens when something on the production side goes wrong during a show?
We were doing a U2 show in Milan many years ago, and the generators broke down and we lost everything. In that kind of situation, you’ve just got to laugh. What can you do, you know? So we had to get a new generator and hook it up. We lost about 20 minutes and went back to work, fortunately. But what are you going to do?

Then, at the 2013 VMAs we had the most disastrous, monumental technical breakdown 30 minutes before we went on air. The entire stage, which was supposed to rotate 360 degrees, became jammed. We were faced with the very real possibility there would be no show. It was one of those moments that’s kind of a nightmare; something you think isn’t ever going to happen. I just went cold. But you just deal with it. You know, when you have a lot of really great people thinking calmly, out of the box, and working as a team to do something difficult, that’s very important. It’s actually bizarre because a lot of people don’t even notice, the program isn’t usually affected — and we had Miley Cyrus and the twerking incident, which kind of overshadowed everything!

It’s very easy for anyone who works with these live shows to go to a place where you’re snapping at people or you’re being curt or rude. If you’re the best at what you do, you really have to be able to deal with it and hope to just rise to the occasion. A few times on live television I wasn’t smiling, but I don’t think I ever lost my temper. I hope that people would say that I’m reasonably relaxed and controlled in my approach to people.

“As the director of a live show, you have an enormous weight of responsibility on your shoulders to do justice to these amazing performers.”

How do you deal with celebrities behaving badly?
Celebrities always behave badly. People watching modern television insist they want to see celebrities, so we have celebrities, and actually when they misbehave, those are some great television moments. Kanye West standing up on stage [at the VMAs] was like, “What the f*ck’s happening here?” But then you think, “This is f*cking great for the ratings.” And it’s the same with Miley, you go, this is gonna kick off! So, you know, I don’t think you’ll find a live director who would want to do shows where celebrities behave themselves all the time.

What are some of your most memorable directing experiences?
I was directing U2 at their lifetime achievement performance, and I had a tear in my eyes. I’m like, “I can’t believe this is happening.” I had another U2 experience when I went live with this amazing tracking shot, and you can actually see me going, “I f*cking love my job!” screaming like a lunatic. As a young boy I queued to buy U2 records. To be working with them was an unbelievable joy!

I’ve also loved directing Robbie Williams… Peter Gabriel or the Super Bowl — [at first] I didn’t really get it because I’m a Brit, but then I’m thinking, “Wow, this is really f*cking enormous.” The Madonna show [I did] was great, and Beyonce[‘s], that was special — they both taught me a lot, and their excellence propelled me to try to be as good as them. As the director of a live show, you have an enormous weight of responsibility on your shoulders to do justice to these amazing performers, which is really important to me.

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

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NEXT >> So What Do You Do, Joe Raiola, MAD Senior Editor and John Lennon Tribute Executive Producer?

Tiffany Shlain, vibrant and charming with her bright lipstick and snazzy fedoras, has catapulted her series, The Future Starts Here, to the top of AOL On Originals‘ list of most-watched shows. She talks candidly to the viewer, punctuating her concerns about society with humor and anecdotes from her own life. But Shlain is much more than the onscreen talent: She is an award-winning filmmaker, the founder of the Webby Awards and a popular lecturer and advocate for social change regarding technology and work-life balance.

With her high level of productivity, Shlain seems to squeeze 25 hours out of each day, while deeply enjoying both her work and relaxation time; her whole family completely unplugs from sundown Friday to sundown Saturday for a “Technology Shabbat.” Both Shlain’s colorful films and the woman herself are like a tonic to our digitally saturated minds.

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Name: Tiffany Shlain
Position: Filmmaker
Resume: Founder of the Webby Awards, co-founder of the International Academy of Digital Arts & Sciences. Shlain has had four films premiere at Sundance including her 2011 documentary “Connected,” and her films and work have earned 60 awards and distinctions, including the honor of having a spot in the U.S. State Department’s American Film Showcase.
Birthdate: April 8, 1970
Hometown: Mill Valley, Calif.
Education: UC Berkeley
Marital status: Married (for 16 years!)
Media mentor: The actor and playwright Anna Deavere Smith
Best career advice received: Elevate the conversation. Use whatever platform is available to trigger societal change.
Last book read: Daily Rituals: How Artists Work, by Mason Currey. “It talks about daily practices of famous writers and artists throughout history, and what their day and creative process were like.”
Twitter handle: @TiffanyShlain

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How did you discover your passion for filmmaking?
Every Sunday growing up, we would go to the movies, then dinner and ice cream. After, we would sit and wrestle with the ideas [from] the movie. It was very much a part of my upbringing — to use films as triggers for important conversations. But I never thought I could actually be a filmmaker because I was supposed to be a doctor. Everyone in my family was supposed to be a doctor!

When I went to Berkeley, I took this wonderful class, the history of film. I had a great professor, who had this infectious enthusiasm about how technology had changed filmmaking and culture — I was so inspired by her. That’s when I knew I was going to be a filmmaker.

After graduating from Berkeley, I kind of went back and forth between making films and working in technology to pay for my films. At one point, I had been working on a CD-ROM for the musician Sting, and somebody said, “You have to see this thing called the Web.” When I saw the Web I was like, “That’s going to change the world.”

I came back to San Francisco and I was given the opportunity to create the Webby Awards from scratch. They had no budget, and I said, “I know how to do things with no budget! I’m a filmmaker!” So we created the Webby Awards in the early days of the Web, which was very exciting. We used to make a lot of films about how technology was changing our lives, and those films would kick off our show for the Webbys. As soon as the films were able to be shown on the Internet, I wanted to get back to filmmaking combined with the power of the Web to trigger important conversations. So it was kind of full circle from when I was a kid.

“It’s a very exciting time to be a filmmaker. You can make films from your cell phone, you can raise money on Kickstarter or Indiegogo, you can broadcast on YouTube… the world is yours.”

Is the fusion of technology and culture where you primarily get your inspiration for your films?
I think I’m very curious about a lot of things, and usually [my] films are based on something I’m wrestling with, or trying to figure out, or something I hope the larger public will discuss and try to figure out collectively.

You’re a writer, director and you’re on screen — could you tell me about how you do so much, and what your days look like?
By no means do I do it alone. I’ve worked with the same team for years — my favorite part of doing anything is the collaborative aspect of it. I usually write with three or four people and we’re passing scripts back and forth, so that part is really exciting. Doing the AOL series on top of [another] film we’re finishing was really an exercise in efficiency: getting up at five in the morning and writing until seven, being with my kids before they go to school, going to work, working while [my kids are] sleeping.

Right now I’m making a lot of things, but there’s also a period where I do have to travel — for example, the U.S. State Department is sending me to the Middle East to show my films as a cultural ambassador. Every couple months I go to screenings and events.… To be a mom the way I want to be a mom, and to live this wonderful life as a filmmaker, I can only [go to about] 2 percent of the film festivals I’m invited to. When I [do] go, I go for a crazy short amount of time, and in my mind I think, “To do both, that’s what I have to do.”

In your AOL series, you talk about having one day a week when your family unplugs — your “Technology Shabbat.” What’s that like, and does it help you with your work/life balance?
I’m a mother who’s very into being with my kids when they come home from school, but I’m trying to maximize my creative time, which has been a big focus in the last couple of years. I have been so on fire creatively, and I also love being with my kids, so I unplug on the weekends. I feel like I’ve gotten a lot more productive… when I really give myself a full break.

There’s a point where I need to do something so I keep a pad of paper and I just write down things I’m worried I’ll forget. It’s almost like I’m emptying my anxiety. Usually, it will be three or four things I’ll write down, and then it goes away, and that whole next day I feel awesome. Time goes very slowly, which is what you want on Saturday. And it’s not like we wait for the sun to absolutely drop before we go back online. I love technology, but everything in moderation.

What career advice would you give to aspiring filmmakers?
There are so many tools available to experiment and play. It’s a very exciting time to be a filmmaker. You can make films from your cell phone, you can raise money on Kickstarter or Indiegogo, you can broadcast on YouTube…the world is yours. Episode five, Participatory Revolution, talks a lot about the opportunities that are available for filmmakers today.

“I feel like the Internet was the tool that the feminist movement always needed.”

I believe good films find their audience. I think really special and unique perspectives always work their way out. That’s what I love about the Web, really amazing stuff floats around and everyone hears about it. You get 20 tweets and emails the same day about the same thing — there are so many ways for people to communicate something exciting.

Any advice for working parents?
Make your own schedule. Or talk to your boss about a more flexible schedule. I think that what the Internet has given our generation is this kind of flexibility to work in new, creative ways that our mothers did not have. I have friends who work for corporations, but most of my friends work from home as consultants or own their own business. I feel like the Internet was the tool that the feminist movement always needed.

With the corporate structure, you’re [still] not going home until 6 p.m. When your kids get to fourth grade, they really need you for homework and emotionally after 3 p.m. So I don’t think that a corporate structure that was built by men, coming home at 6 p.m. or later, works.

I work as much as anybody else but I do it in a creative way. I don’t watch a lot of TV. I do get up early in the morning, and then when my kids get up, I’m with them, I take them to school, I work. I’m with my kids after school, and then I work when they’re sleeping. Collectively it’s the same amount of hours; it’s just different hours than normal. And, two of those days I’m working straight through. But it’s important to have creativity and flexibility with work, for both men and women.

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

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NEXT >> So What Do You Do, Tracey Edmonds, Award-Winning TV and Film Producer?

I sit, facing my laptop, at a sleek cherrywood desk that was designed and built by my father. I have a green banker’s lamp — a writer’s talisman I had set my heart on at a young age. In front of me, my art: three white squares with handmade paper flowers glued in the middle.

It wasn’t always this simple. I look back four years, when I wallpapered my office with magazine covers and art. I had kept my pet rabbit pen and bird cage nearby, overwhelming the room with a cloud of ammonia. My bird would scream for attention while I tried to focus. The rest of my apartment wasn’t much better — I had too much furniture, too many wall hangings and closets full of untouched stuff.

It’s no wonder I did the majority of my writing at a local caf_?.

My recent conversion to minimalism complements my work as a freelancer. But minimalism, for me, isn’t about challenging myself to see how few things I can possibly hang onto. It’s about rearranging my life around my priorities — a practice that even the hoarders with the largest stash could benefit from.

Adopting a Uniform

The first and easiest thing to minimize was my physical appearance. I love a comfortable, practical pajama as much as the next freelancer, but I’ve found that having a set uniform has two powerful results: First, I don’t waste any time deciding what to wear. I grab one of two black shirts, and one of my two pairs of pants. I don’t have to rifle through hanger after hanger in my closet, because I’ve whittled down my wardrobe to about 20 items — shoes included, gender stereotypes be damned. And because I wear my uniform during work hours, I get the satisfaction of changing into my beloved sweatpants at the end of the day.

“Simplifying personal behaviors, like enjoying one thing at a time and being present for important moments, can serve you personally and professionally.”

The other result of my simplified wardrobe is that I take myself seriously. If those in offices are told to dress for the job they’re striving to have, where does that leave freelancers? We, too, have to dress like the writers we want to become. I don’t envision myself 10 years from now speaking at conferences and promoting my book clad in reindeer print pajamas. Although, then again, that would be kind of awesome. (Will somebody do this, please?)

A Better Balance with My Personal Life

Anyone who works from home knows that it’s difficult to keep personal space separate from work space. I made three major changes to my home environment, each of which has benefited my work life. The first is the most profound: I moved the TV out of the living room. Now, when I’m taking lunch breaks, I sit down at the dining room table and don’t get sucked in to some Full House rerun or episode of Anderson Live. At night, when I’m home with my husband and daughter, we play together in the living room instead of zoning out in front of a movie. This reduction in screen time makes it easier on my eyes and body to sit down in front of the computer, renewed, at the beginning of a work day.

The second change is reducing my kitchen and food supply to its bare essentials — and cleaning up immediately after a meal or snack. Before, I’d dirty up the kitchen all day making coffee, grabbing snacks and fixing lunch. After I picked up my daughter from daycare, I’d be scrambling to keep her entertained while trying to find space on the counter to cut up vegetables. Now, my home is a blank slate when I switch from writer to family mode.

Finally, I cancelled our cell phone contract and replaced it with a land line. Not only are we saving $150 a month, but I don’t get caught up in spontaneous text conversations and the sound quality is much better than my former cell phone.

A Minimalist Mindset

Organizing and getting rid of your stuff does nothing if you neglect the most important environment: your internal one. Simplifying personal behaviors, like enjoying one thing at a time, knowing when to relax and when to work hard, and being present for important moments, can serve you personally and professionally.

This element, for me, is a major work in progress. I inherited Type A tendencies from my parents, who both are constantly moving, improving and achieving. I jolt awake from sleep and immediately start addressing tasks on my mental to-do lists. Even during heavy conversations with my husband, I get up to do dishes. When my husband pointed this out, I stopped, and five minutes later — without realizing it — I was wandering out of the room to start laundry.

Most people have a number of things they’d like to change about themselves, but few make these changes because they are far too complicated or ambitious. I have found that the most effective way to simplify your mind is to choose one thing — the most important thing — and focus on that until it becomes a habit. My first goal was to be fully present when my daughter returned home from daycare. It had been a major source of stress (and irony) that I missed my daughter like crazy during the day, but was so exhausted and overwhelmed at night that I’d ignore her in favor of getting everything cleaned up and ready for the next day.

“It’s a challenge to think small in a world that’s telling you to go big.”

Once I mastered this, I tackled a much larger goal: I quit smoking cigarettes. It was difficult to feel at peace when my body needed a constant influx of chemicals. Despite how grueling the withdrawal period was, I now feel an overarching sense of calm.

When discovering ways to simplify your mind, start with the thing that troubles you the most, or disrupts your life the most. It could be as simple as making room for an old favorite hobby, or cutting out an activity that clutters your schedule. It could mean reducing your caffeine intake or doing jumping jacks throughout your day.

It’s a challenge to think small in a world that’s telling you to go big. It also goes against our nesting nature to get rid of anything that we might just possibly use again in the future. And it is scary to eliminate the physical and mental clutter, to strip our environments and selves down to their essences, because suddenly we’re facing reality — no gimmicks, no bells and whistles. You may not like what you see. But without really examining how you’re spending your time, money and energy, you can’t possibly know how to save your time, money and energy. You don’t need to make a giant leap into full-fledged minimalism, but try stepping back from the madness and making a tiny change to reclaim what you really want out of life. You may be surprised at the results.

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

@AmandaLaymanLow.

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NEXT >> Balancing Your Freelance Life With Your Personal Life

In the three weeks or so that have elapsed since Shirley Halperin interviewed Justin Bieber for today’s big Hollywood Reporter cover story, all sorts of crazy reports about the singer have circulated. The outlandish items have touched on everything from the identity of the woman who photographed him sleeping and an alleged place of
ill repute in Brazil to some pet-monkey fees still
outstanding in Germany.

With a lead-in like that, Halperin’s cover story is bound to be read by far more than just the usual hardcore Justin Bieber crowd. He’s appeared on a number of other magazine covers this year, including Teen Vogue and Billboard, but the THR feature really sits, more so than the others, in the eye of the Bieber storm.

When we spoke with Halperin, she was getting ready to do a fourth draft of the cover story, something she says is pretty standard for Hollywood Reporter cover assignments. We began by asking how difficult it was to pin down the hard-partying, globe-trotting Bieber.

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Name: Shirley Halperin
Position: Music editor, The Hollywood Reporter
Resume: The two key things to know about Halperin are that she has been writing about music since the mid-1990s and first began working for Janice Min in 2002 at Us Weekly. These two strands have come together beautifully in recent years for Halperin at THR, where she has been responsible since 2010 for many coverage highlights. Halperin is also the author of several books and has previously worked for High Times, Bop, Teen People, Entertainment Weekly and the LA Times.
Birthdate: July 18
Hometown: East Brunswick, N.J.
Education: Rutgers University
Marital status: Married
Media mentor: The late Timothy White (Billboard editor-in-chief from 1991 to 2002)
Best career advice received: Breathe.
Guilty pleasure: Sleep
Last book read: Methland: The Death and Life of an American Small Town
Twitter handle: @shirleyhalperin

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How did the interview with Justin Bieber come about?
This is a story I had been chasing for a long time, five or six months. [His PR team] finally gave us the opportunity, and I think a lot of that is a testament to The Hollywood Reporter. It’s really such a huge get. I did the interview with him in person, just before he left for South America, where all the craziness has happened.

It was definitely a matter of convincing the Bieber camp that this would be a good forum for him, where he could not necessarily defend his actions, but defend his art. I think they knew that they would get a really beautiful-looking cover, a well-written, in-depth fair story. I think all these things came into consideration, but [then it’s about] bugging the camp… and just constantly going, “When are we going to do the cover?”

What’s your sense of Bieber after having spent time with him — is he misunderstood, misrepresented?
That is basically the cover story. Is he misunderstood? Is his camp complicit in any of this? Is this [negative publicity] some sort of attempt to change his image in a radical way? All of these questions are addressed in the piece. And those are the exact same questions that I would have as a casual observer of Bieber. You know, what’s really going on over there? Without giving away too much, I tried to get to the bottom of it.

“It was definitely a matter of convincing the Bieber camp that this would be a good forum for him, where he could not necessarily defend his actions, but defend his art.”

Did anything about Bieber’s physical appearance really surprise you, compared to the last time you interviewed him? [Halperin has also seen Bieber perform at various locations, including a concert in Israel.]

Yes. The tattoos. He’s really covered in tattoos now, and it was a very striking difference from the last time I interviewed him in 2011. At that time, he was just this sweet little kid. I remember that it was such a big deal that we changed his hair style for the cover.

Now, he is covered in tattoos and he just looks like a different person because of that. It’s very striking. And his new movie, which the story is pegged to — it comes out in December — the first scene of the movie is him playing piano, and you just see his arms full of ink. That, more than anything, tells you that this is a different Bieber.

The one challenging thing about writing this piece is that there were so many different ways into it. There were literally six or seven completely different ledes, angles, focuses that I could have done. It was really coming up with the one that was most relevant for right now — that also appealed to Janice and our deputy editorial director, Mark Miller, and was also a really interesting read, [one] that felt exciting. But there were so many different ways to do that.
In the conversations that we’ve had about Min, that’s always what comes up about her. Her intuitive sense of what angle to play at any given time.
She’s so good at it. Reading the temperature of the culture, what people want to talk about, what people want to hear about… What they don’t know yet that they want to talk about. I started working for Janice in 2002 at Us Weekly. So I’ve really seen the magic of Janice Min.

You’ve been covering music for a long time, and you sit in a very privileged position with The Hollywood Reporter today. What has that journey been like for you?
I was at Rutgers and working on the school paper, which I loved. It was a very exciting time musically. It was the early 90s. Grunge, indie rock and everything was happening at the same time. I still remember, very distinctly, where I was when I heard “Smells Like Teen Spirit” for the first time.

After college — I didn’t graduate, I just sort of left — I didn’t want to give journalism up, so I started a fanzine, Smug. It was newsprint. It was only distributed in New York and New Jersey originally, and it was all about music. Our first issue was a little bit more of a think piece. I didn’t know it was called “think piece” at the time; it was about ‘where do you find Paul’s Boutique‘ [and] about the Beastie Boys having such an influence on the suburbs, on these kids and what that meant for the culture [and] the music. I’m sure it was a terrible piece; I haven’t read it since 1995. But it was ambitious and a bit like what I still do today, which is really strange to be able to say.

I did the fanzine for five years. I had also interned for High Times in college and continued there full time [afterward]. I started out as photo editor, then was an editor, then managing editor. Then I went into teen magazine world. I went to work at Bop [at] the height of Backstreet Boys and N’Sync. I covered that whole scene; it was when I first interviewed Justin Timberlake.

“I still remember, very distinctly, where I was when I heard ‘Smells Like Teen Spirit’ for the first time.”

At what point did you make the move from the East Coast to the West Coast?
[In] 2005. I was covering a concert for Rolling Stone, which is a sister publication to Us. It was a Gram Parsons tribute concert at the Santa Barbara Bowl. I remember I was driving back to L.A. on the [Pacific Coast Highway] and it was like, “I want to live here. This is where I belong.” I called my husband and asked him what he thought and he said, “Yup, let’s do it.”

My husband [Thom Monahan] is a music producer. He produces really awesome bands and cool records. When I met him, he was in a band that I loved, called The Pernice Brothers. He’s really thrived out here. He works with Chris Robinson — he’s in Sweden right now working with Peter, Bjorn and John. This whole West Coast thing has been really good for him.

Do you work with freelancers?
Yes, quite a few. I edit all their copy, but otherwise, it’s just me. There’s no other music person at THR. Every original, non-aggregated story that is conceived on the website is coming through me. We don’t really do album reviews. We do write a lot about sales and the business. Billboard is our sister magazine, so it’s amazing that we have all those resources: the charts, the numbers, the data.

We cover the business of music, which is so interesting these days. Not only is the business itself at a time of transition, but music is also everywhere, in movies, in TV shows. We write entire articles about the last song of Breaking Bad. That is an interesting, new way to cover music that I don’t think existed as much when I was coming up in the rock journalism world.

Richard Horgan is co-editor of FishbowlNY.

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