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Skills & Expertise

Skills-Based Training: Why Upskilling Is Essential for Media Professionals

Identifying ways to enhance the professional skills needed to advance your career

Skills-Based Training: Why Upskilling Is Essential for Media Professionals
Yana icon
By Ayana Young
Ayana Young is a communications and PR strategist with 15+ years of experience spanning media relations, lifestyle brands, professional sports, and publishing.
3 min read • Originally published June 26, 2017 / Updated March 19, 2026
Yana icon
By Ayana Young
Ayana Young is a communications and PR strategist with 15+ years of experience spanning media relations, lifestyle brands, professional sports, and publishing.
3 min read • Originally published June 26, 2017 / Updated March 19, 2026

Your job is changing. If it’s not changing now, it will change in the very near future.

Almost all companies rely on a digital way of branding and commerce, even if they are not inherently digital products.

Journalists are not only responsible for writing, but they’re also expected to know the data and optimization behind their content. Marketers too are evaluated by their analytical skills and social media savvy. A brand marketer who has climbed the ranks as an expert could suddenly find herself face to face with the brand’s fledgling Facebook community and tasked with developing the strategy to save it.

Much of professional learning is on the job—we get thrown into scenarios, and we are asked to spin gold from thin air—but there is a way to learn before your feet are in the fire.

Enter online skills-based learning—short courses that teach working professionals new trends and new information within their job function. Professional skills training is becoming a popular option for learning and a new access point to acquire targeted skills. It’s a down-and-dirty way to learn what you need, right when you need it.

The choices are plentiful and range from free, 5-minute videos on YouTube to multi-week intensives that can cost as much as $10,000. What you choose can depend on how deep you want to go or how much time and money you are comfortable investing. While there is plenty of free information out there, much of it can be generic, untargeted or produced by non-reputable sources.

Even courses that cost money can be questionable; many providers of online training videos aren’t involved in the development of course content and allow anyone to create and post a course for sale.

So what’s the middle ground for someone who wants quality content but doesn’t want to invest in a comprehensive program? The answer: on demand, self-paced courses taught by pros whose day jobs are in the topic areas which they teach.

On-demand courses enable working professionals—whose resumes already have some heft—to elevate themselves in their current role or pivot to an entirely new one, without the time and money of a long program.

Before you enroll, ask yourself a few questions:

  • Will this course give me the information and tactical skills that I need in my work? (hint: check the syllabus or course description carefully)
  • How much money am I comfortable spending on a single course? (pro-tip: signup for newsletters to get discounts)
  • Who is leading the course? (Read instructor bios to learn about their experience)
  • How much time am I willing to devote to this? (1 hour, 3 hours? 2 weeks?)
  • What name would I trust to provide me with relevant, accurate information?

Mediabistro offers on-demand training for the top skills needed in digital media. All courses are developed and led by professionals with current working expertise. Mediabistro thoroughly evaluates the credentials of our instructors and works closely with them to develop the content and structure of the course.

Ultimately, opting for additional training in your field gives you an edge—it’s a smart, strategic approach to managing your career. On-demand courses are designed for busy professionals that already have the experience and simply want to add a layer of expertise to move up.

Check out Mediabistro’s on demand course library, available for as low as $49 per course. New courses are added monthly to keep up with the rapid pace of change in digital media.

Topics:

Climb the Ladder, Skills & Expertise
Skills & Expertise

Beyond Grammar: The Solid Writing Skills Employers Actually Want

Learn these six kinds of writing, and employers/clients will be knocking down your door

Beyond Grammar: The Solid Writing Skills Employers Actually Want
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By Ayana Young
Ayana Young is a communications and PR strategist with 15+ years of experience spanning media relations, lifestyle brands, professional sports, and publishing.
3 min read • Originally published June 28, 2017 / Updated March 19, 2026
Yana icon
By Ayana Young
Ayana Young is a communications and PR strategist with 15+ years of experience spanning media relations, lifestyle brands, professional sports, and publishing.
3 min read • Originally published June 28, 2017 / Updated March 19, 2026

Think you know how to write?

Think again.

Nearly 75% of employers want employees with strong writing skills. Yet, almost half of employers say young job applicants can’t write well enough.

These days, writing is so much more than basic grammar, correct spelling and proper punctuation. You need to be able to communicate complex messages in dozens of different ways, for wildly different audiences.

Here are six kinds of writing everyone needs to master—no matter what industry you’re in.

1. Video

Literally every brand has jumped on the video content wagon, and scriptwriting is an art form unto itself. It requires a special kind of creativity to tell a story using both audio and visuals.

Scriptwriters also need to know specific formatting practices that are standard in the industry. For example, you may need to write a video script in screenplay format or two-column advertising format.

If you can quickly turn around a well-written and professionally formatted script, you have an undeniable advantage over the competition.

2. Audio

Listen. Do you hear that? It’s the sound of podcasts and radio shows taking over the planet!

There’s more audio content being generated than ever before, and you never know when you might be called on to write a podcast script, radio commercial, podiobook or audio blog.

Writing audio content is completely different than writing content that’s meant to be read (like a blog post) or seen (like a video).

3. Social Media

Sure, you might have a killer social media following for yourself, but do you know how to write social content for brands? It’s a whole different ballgame.

Writers need to understand the stylistic nuances of each platform, while at the same time being true to the brand. Facebook, Twitter, Instagram, LinkedIn, Pinterest, Snapchat, YouTube… it’s a lot for a writer to learn.

And don’t forget social media advertising. Promoted tweets, YouTube pre-roll videos and Facebook ads are all created by writers.

4. B2C Copywriting

As technology continues to evolve at a rapid-fire pace, B2C (business-to-consumer) copywriting is becoming more multi-faceted. Writers must keep on top of these industry changes to stay employable.

But if we go back to basics, every successful B2C writer has to master these three skills:

Writing for highly targeted niche audiences
Writing across drastically different platforms (websites, email, print ads, digital ads, email, social media, etc.)
Coming up with an endless stream of new strategies and ideas to present well-worn ideas in a fresh new light.

5. Sponsored Content

One of the fastest-growing areas of B2C is sponsored content, also known as advertorial, native advertising or promoted stories.

To create effective sponsored content, a writer has to marry a brand’s content and message with a publication’s style and tone. It’s a tricky tightrope to walk, and it’s why sponsored content writers are in such high demand.

6. B2B Copywriting

Writing B2B (business-to-business) is 10x harder than writing B2C.

Why?

It’s easy to put yourself in an individual consumer’s shoes because you’re an individual consumer yourself. It’s much harder to write compelling copy aimed at a business.

What does a business want? How can you convince them of your unique value proposition? How do you handle all the different channels of B2B marketing: trade publications, blog content, email newsletters, case studies, white papers and press releases?

We recommend that all writers take the time to learn B2B writing skills forwards, backward and upside-down.

Go Forth and Write!

Remember, 75% of employers want you to walk in the door with strong writing skills under your belt. Become a fantastic writer, and you’ll have great companies knocking down your door.

Topics:

Climb the Ladder, Skills & Expertise
Skills & Expertise

How to Build a Social Media Strategy for Your Company

Tips for scaling your social media activities

How to Build a Social Media Strategy for Your Company
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By Ayana Young
Ayana Young is a communications and PR strategist with 15+ years of experience spanning media relations, lifestyle brands, professional sports, and publishing.
6 min read • Originally published July 3, 2017 / Updated March 19, 2026
Yana icon
By Ayana Young
Ayana Young is a communications and PR strategist with 15+ years of experience spanning media relations, lifestyle brands, professional sports, and publishing.
6 min read • Originally published July 3, 2017 / Updated March 19, 2026

Snapchat. Instagram. Facebook. Twitter. Linkedin. Quora. Reddit. Pinterest.

The list of social channels goes on and on. But should your company be on every channel? Or just one?

And how do you know if you’re focused on the best social channel for you?

Well, take a deep breath. We’re here to help you successfully navigate the social media jungle.

First, it’s important to evaluate if social media is right for your business and marketing plan. Understand that these social channels command a lot of attention, and regardless of your business type (B2B or B2C), your customers are people that are active on some form of social media.

Once you truly understand your audience and how to connect with them, then there is a social channel for you. But which one?

How to evaluate the right social media channels for your company

Before you start posting the same thing on every channel, let’s take a more strategic approach.

Quantitative Approach: What do the numbers say?

To get a full grasp on social media’s impact, you should start by researching what channels are working in your industry. Make a list of your top five competitors or top five brands whose customers align with your target demographic and identify what channels work for them.

Using an online tool like SimilarWeb or Spyfu to look at each company’s social traffic volume can provide a comparable scope.

Let’s say you have an audience that’s similar to the Bonobos audience—working males that are stylish and active. SimilarWeb shows that Bonobos gets 11% of their traffic from social. The next question is what are the top social channels for them? The results indicate that Reddit is #1 and Facebook is #2. There you go, two channels that should be worth evaluating further.

For a macro approach, reference Social Sprout’s 2017 Social Media Demographic Report, here you can understand the demographic of every social channel and see where your user personas live on social.

Qualitative Approach: What makes sense based on your insight?

You know your customers better than anyone because you engage with them on a daily basis. So what’s next? Ask yourself these simple questions:

  • How can you add the most value to them on social media?
  • What type of content would they want?
  • What questions do they normally ask?

If it’s lots of detailed how-to questions, then educational videos and tutorials could be great on Youtube. If you have an aspirational brand that’s very visual, then channels like Snapchat and Instagram could be ideal for showcasing how to use your product with artsy videos and photos.

Based on your qualitative and quantitative research, determine the social channels that make sense for you right now. Prioritize them and determine which ones you can deliver on.

TIP: If you’re a team with limited resources, you’re going to want to do all of them but you might not be able to do all of them well. It’s okay to start with one to three.

How do you measure social success?

Start with the end in mind.

It happens, you get busy focusing on pumping out social content, and you don’t concentrate on the results. It’s easy to fall into this rhythm, but that’s why you need to start with your goal in mind.

What is your goal with each channel? Here are some common goals that you can use to measure success with social media metrics:

  • Awareness: You simply care about spreading the word and connecting with potential customers. You care about followers, likes and reach.
  • Conversion: Your goal is to turn social media followers into customers with your content. Increase sales and leads. You care about your click thru rate (CTR) and conversion rate (CR).
  • Customer Service: Use Social Media as a way to interact with customers—one to one messaging through DM or comments. You care about positive brand mentions and social shares.
  • Retention: Social media can be great for reengaging customers and bringing them back to your website. You care about traffic from repeat users per week.
  • Referrals: Ask users to share your post or page with their network or their friends. Turn your customers into marketers. You care about shares and how many friends your followers tag on a post.

TIP: Instagram comments are great for referrals

How do you track your goals:

Here are some tools to use so you can determine if you’re hitting those goals.

  • Mention: Scour the web to see if you’re being mentioned on any social platforms.
  • Simply Measured: See how your social media campaigns drive results through your conversion funnel.
  • Google Analytics: Track traffic that’s coming in from social media.

How to design your social media strategy:

Okay, you’ve determined your channel goals. Now, how do you design a content strategy that gets results?

Start by getting a head start with current best practices and competitive analysis.

TIP: Always lean on the side of content that adds value to the customer. Put them first.

Begin by understanding what the best practices are on each channel. Buffer and Social Sprout publish frequency guides every year to give an idea on how often to post on each channel; use this as a starting point.

Next, pick five competitors in your space and five of the most innovative companies on your desired channels and stalk them. Yes, stalk them online and take notes. Here are the things to watch out for:

  • Frequency: How many posts per week / month? What time of day?
  • Types of content: How would you categorize their content? Aspirational shots, product shots (for ecommerce brands), How-to guides, inspiring quotes or typography, types of videos, thought pieces, behind-the-scenes shots, witty quotes, etc.
  • Partnerships & Guest Posts: Do Influencers take over their twitter handle or run their Instagram stories? How do they handle partnerships?
  • Giveaways: Do they run giveaways on their accounts? Are they promoting collaborations with other brands? What’s driving their spike in likes, comments or shares?
  • Hashtags: Especially for Instagram and twitter, what hashtags are they using or not using?
  • Engaging with People (Actually, Being Social): How are they interacting with users? Do they talk in the comments or take the conversation to direct message? What type of content creates the most comments?

Last, sign up for the blog of every social channel you’re on. This allows you to be the first to know when they roll out a new feature. They’re tech companies, so they’re always innovating.

Make it a priority to be the first one to test these new features. You never know what feature or tool could be the next big breakthrough for engaging with users.

How to execute and scale your strategy with limited resources (Time and Money):

After you perform this analysis, put your content ideas into at least five categories. Create a pipeline of content for each category so you can run experiments to see if the content resonates with your network.

Take advantage of scheduling tools like Buffer, Hootsuite, MeetEdgar, CoSchedule or Social Sprout. Plan out your evergreen content by two weeks. By getting ahead with the evergreen content, you have more time actually to be social on these channels and engage with people.

Final Thought

The best way to know if a social channel works is by testing it the right way. Be strategic about your content and how you measure it. As a business owner or a social media leader, your time is limited and valuable so make it count when experimenting with social media channels.

Topics:

Advice From the Pros, Skills & Expertise
Skills & Expertise

7 Ways to Overcome Writer’s Block Fast

Proven techniques to get unstuck and start writing again—whether you have five minutes or five hours.

7 Ways to Overcome Writer’s Block Fast
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By Aja Frost
Aja Frost is a growth marketing leader who has spent nearly a decade at HubSpot building and scaling the company's growth engine across SEO, AEO, content, and product-led acquisition. She is also the co-founder of Platonic Love, a media brand with a bestselling Substack newsletter.
6 min read • Originally published July 3, 2017 / Updated March 19, 2026
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By Aja Frost
Aja Frost is a growth marketing leader who has spent nearly a decade at HubSpot building and scaling the company's growth engine across SEO, AEO, content, and product-led acquisition. She is also the co-founder of Platonic Love, a media brand with a bestselling Substack newsletter.
6 min read • Originally published July 3, 2017 / Updated March 19, 2026

Last updated: January 2026

In this article: Relax Your Mind | Work on Something Else | Make an Outline | Talk It Out | Use a Writing App | Change Your Environment | Force Yourself to Write | FAQs

Nothing is more terrifying to writers than writer’s block—especially when you’re on a deadline. It’s always hardest to find the right words when you need them the most.

The good news: if you’re currently stuck (or suspect you will be sometime soon), these seven techniques can help you break through. You’ll make your deadline—and the next one, and the one after that.


1. Relax Your Mind (Yes, That Includes a Glass of Wine)

When you’re struggling to find the right words—or any words at all—relaxation might be exactly what you need.

Research shows that humans are more creative when we’re relaxed. A study from the University of Illinois at Chicago found that people are 30% more likely to find unexpected solutions when their inhibitions are lowered. A separate experiment pitted two groups of ad executives against each other—one drinking water, the other drinking alcohol. The relaxed group produced four out of the five best ideas, as judged by an independent panel.

Whether you choose wine, a warm bath, meditation, or a short nap, the goal is the same: quiet your inner critic so the ideas can flow. Just remember Hemingway’s advice: write relaxed, edit sharp.


2. Work on Something Else

Not feeling your current topic? Give your brain a change of pace by working on something completely different.

This technique is especially helpful if you’ve got another piece you’re eager to write. Maybe you’re in the middle of an article for work, but can’t stop thinking about an essay for your personal blog. Give yourself permission to write the essay first. Once it’s out of your system, you’ll find it much easier to tackle the original assignment.

If you’re just plain stuck, turn to a more practical project: send emails, organize your files, go for a walk, or even clean. After a break, you’ll return recharged and ready to write.


3. Make an Outline

Figuring out the direction of your piece as you write often leads to dead ends. When you’re struggling to figure out where to go next, take a step back.

First, outline the sections you’ve already written. Then think about what would logically follow. Seeing your structure on paper often reveals the obvious next step.

If you’re still stuck, describe what you have so far to a friend or editor and ask what they’d expect to read next. An outside perspective can quickly clarify your path forward.


4. Talk It Out

If writing were as easy as speaking, everyone would do it. But here’s a trick: turn on your voice recorder and pretend you’re explaining your piece to a friend.

Describe your premise, your main points, and the details you want to include. Speaking aloud engages different parts of your brain, and you’ll typically generate a few new ideas in the process. Transcribe the best parts, and you’re back in business.

No friend available? Talk to yourself, your pet, or even record a voice memo on your phone.


5. Use a Distraction-Free Writing App

Many writers struggle because they edit as they write, tweaking the same sentence over and over. When you can’t get in the zone, try switching to a focused writing app.

Minimalist options:

  • iA Writer — Clean, distraction-free interface for focused writing
  • Google Docs in full-screen mode — Simple and accessible
  • Your phone’s Notes app — Sometimes the simplest tool works best

More intense options:

  • Freewriting timers — Set a 10-minute timer and write without stopping, no matter what comes out
  • Word count goals — Commit to writing 500 words before you’re allowed to edit anything

The key is removing the temptation to edit before you’ve finished drafting.


6. Change Your Environment

A new setting can work wonders for creativity. If you’re at home, grab your laptop and head to a coffee shop, library, or coworking space. Research shows that spending time in nature has a significant positive impact on creative thinking.

You can also switch mediums. If you’re typing on a computer, try writing longhand in a notebook. The physical act of handwriting engages your brain differently and can help unlock new ideas.

Even something as simple as opening a fresh document can help. A blank page sometimes feels less intimidating than a half-finished draft you’ve been staring at for hours.


7. Force Yourself to Write (Badly)

Sometimes you try every technique in the book—and you’re still stuck. In these situations, the best solution is to sit down and force yourself to write. Give yourself explicit permission to write badly.

Your only goal is quantity, not quality. Don’t worry about word choice, structure, or whether any of it makes sense. Just keep your fingers moving.

Most of what you write in the first few minutes probably won’t be usable. But most writers find their rhythm somewhere in the middle. Once you’ve broken through the block, you can go back and delete or revise the rough parts.

Remember: a bad first draft is infinitely better than a blank page.

Need a change of pace? Browse freelance writing jobs on Mediabistro.


FAQs About Writer’s Block

What causes writer’s block?

Writer’s block is typically caused by perfectionism, fear of failure, burnout, a lack of clarity about what to write, or external pressure, such as tight deadlines. Sometimes it’s simply mental fatigue—your brain needs rest before it can produce creative work again.

How long does writer’s block last?

Writer’s block can last anywhere from a few minutes to several months, depending on the underlying cause. For most deadline-driven blocks, the techniques above can help you break through within an hour or two. Chronic writer’s block may require addressing deeper issues like burnout or anxiety.

Is writer’s block real?

Yes, writer’s block is real—though some argue it’s better described as creative resistance or fear. Whatever you call it, the experience of being unable to write despite wanting or needing to is well-documented among writers of all levels.

How do professional writers overcome writer’s block?

Professional writers use many techniques: setting daily word count goals, writing at the same time each day, using outlines, allowing themselves to write bad first drafts, changing environments, and taking breaks to recharge. Many also rely on deadlines (external or self-imposed) to push through resistance.

Should you push through writer’s block or take a break?

Both strategies work depending on the situation. If you have a deadline, forcing yourself to write (even badly) is often necessary. If you have time, stepping away to rest, exercise, or work on something else can help you return refreshed with new ideas.

Can changing your environment help with writer’s block?

Yes. Research shows that new environments—especially natural settings—can boost creativity. Even small changes like moving to a different room, going to a coffee shop, or switching from typing to handwriting can help break a creative block.

Topics:

Climb the Ladder, Skills & Expertise
Advice From the Pros

How to Run a Writing Agency: From Freelancer to Business Owner

Former independent freelance writer Wintress Odom describes how she went from a one-woman show to establishing a successful writing agency

How to Run a Writing Agency: From Freelancer to Business Owner
Yana icon
By Ayana Young
Ayana Young is a communications and PR strategist with 15+ years of experience spanning media relations, lifestyle brands, professional sports, and publishing.
7 min read • Originally published July 12, 2017 / Updated March 19, 2026
Yana icon
By Ayana Young
Ayana Young is a communications and PR strategist with 15+ years of experience spanning media relations, lifestyle brands, professional sports, and publishing.
7 min read • Originally published July 12, 2017 / Updated March 19, 2026

When is a freelance writer not a freelance writer? When she gets so busy that she morphs into an agency with admin staff, project managers and 25-plus writers in her stable.

That is Wintress Odom’s story. About 15 years ago, she started as a freelance writer on a whim when she graduated college. As an early adopter of SEO best practices, her one-woman business grew quickly, and she was forced to consider turning away clients. Instead, Odom, now 40, learned the art of managing other writers. After several years, she launched The Writers for Hire, which now has an office and a handful of full-time staff members with a client list that includes Forbes, Mitsubishi and International Trade Center.

Like any job, managing and owning a writing agency has its ups and downs.

Mediabistro asked Odom about her journey, as well as the pros and cons of running a company, and why a freelancer might want to write for an agency like The Writers for Hire.

When you were in college, what did you imagine you would do with your career?

At one point, I was convinced I was going to be a science fiction author, so I wrote about an eighth of a book, and I never finished it. Then I started writing other people’s books for money, and that was much more lucrative.

I have a degree in ecology and evolutionary biology. If I weren’t going to do something in writing, which is my passion, I would have done something outside; working at a state park or a zoo, working with or studying animals. When I got out of college, my husband and I had a bazillion ideas about what we wanted to do—baseball training camps, vending machines, etc.

The one thing we didn’t talk about was working for other people, so we were destined to work for ourselves.

What does an average day look like for you?

I’m the owner, so I do everything that needs to be done that doesn’t get done by other people. That is the definition of a small business owner.

Right now, we are redoing our website, so that is taking up a lot of my time. But on a daily basis, I do a lot of sales calls, quoting and proposing, assigning projects and some project management. I don’t handle all of the sales anymore since I have some help with that—but if it is a larger job, I am part of the final sale and proposal.

I also work with our accountant, adjusting plans and pricing to make sure we are staying on target. And coming up with ideas that make the company grow.

How does being a writer help you manage writers?

I think it is a very different skill set writing and managing. Some people make good managers, but poor writers and many writers can barely manage themselves, let alone other people.

Being a writer does have its advantages because I understand the work. I can tell them when something isn’t right. A client can be totally satisfied with junk if they don’t know any better. They come to you because you are the expert. When I’m managing, I can give that level of insight that is really important to maintaining the quality of the work.

What can you do as an agency that you wouldn’t be able to do on your own?

First of all, we can take on very large and complex jobs that there is no possible way an individual freelancer could handle. For example, we are currently rewriting all of the content for a university here in Texas. There were 300 pages in the first phase and 300 in the second. It has to be done in three months. There is a project manager and seven to eight writers who are each devoting 20 to 25 hours a week. If you don’t have the systems in place, it can be an email nightmare to try to pull together 300 pages with edits flying around. There are few places I know who can handle that, so in that way we are pretty unique.

For clients, it means that when a writer goes on vacation, there is always someone who can do whatever they need when they need it to their style guidelines. Because we have a large group of writers, if a client needs something in two hours we can do that, whereas for an individual freelancer they might have other projects and deadlines.

As a team, we are focused on sharing knowledge and encourage people within the team to reach out to our other writers if a client needs a specialist in an area. A client might need a copywriter, but also they come to us for a technical manual. The person doing the copywriting may not be great at a technical manual. That way someone else in our company can help that writer get up to speed and the client doesn’t need to find a different freelancer.

Price-wise, do you feel like you can compete with a single freelancer or do overhead costs of running an agency bump up the price for clients?

I think we are competitive. Most of the freelancers we work with charge us less than they would charge the client directly. That is because we provide an incredible service. We take a lot of the cost and load off them. We pay all the marketing costs. They don’t worry about accounting or collections. That is the business end of writing. They just get to write. If an individual freelancer has 40 hours in a work week, they might spend 20 hours finding work or managing non-billable hours writing up proposals or networking. They have to then charge more for the hours they are actually billing. With us, they can charge less but make the same at the end of the week because they are not tied up in all those other activities.

What are some of the challenges of running an agency?

You have to be really, really good at organization. I suggest that anyone who intends on running a business at least take some college course or find a seminar or go to an accountant or small business consultant to give you some starting advice. I had to learn every financial mistake the hard way.

You have to like managing people, and you need to be comfortable giving feedback that is not always good. And this might sound cliche, but you need to have the spirit and desire to be an entrepreneur.

Do you still do any writing?

Not really, however I still do some editing. It happened gradually—one day I woke up and thought, “Gee, I haven’t written in awhile.”

Do you miss writing on a day to day basis?

For a while, I did miss it. When I get to write, I still enjoy it, but at this point, I am also happy managing.

How lucrative is running an agency compared to freelancing, bearing in mind there are six-figure freelancers out there?

Over the years I have made a ton of money, more than I thought I could, and certainly more than I could have as a single freelancer. However, some years, my freelancers have made more than I did. I am also building something that will have worth in and of itself—that end worth will eventually be the payout. My desire is to have something that is a saleable asset. That is something you can’t have as an individual freelancer because you are the asset, you are the business.

I do not intend to sell anytime soon though; I love to work. I would have to find something else to do, and I like doing this.

How do you find freelancers and what type of writer piques your interest?

Where the agency really thrives is more technical writing with industries such as medical, oil and gas, financial, petrochemical, logistics, business consultants (as in high-level business consulting, like Accenture). That type of writing requires somebody that is passionate about learning very difficult subjects, then taking that material and making something useful out of that. What I don’t have a ton of need for are those with stronger desire to be on the lighter side of writing—travel writers, fashion bloggers. That is not our clientele.

Usually, potential writers email us, and we try to get back pretty quickly. We do an interview and give them an internal assignment like writing a post for our blog. The ones we bring on get internal training on our process, and then we start them out on smaller projects under a veteran team manager.

Topics:

Advice From the Pros, Be Inspired
Be Inspired

What Is a Content Consultant? Skills, Role, and How to Become One

A strategic job that involves a combination of editorial and marketing skills, along with digital know-how

What Is a Content Consultant? Skills, Role, and How to Become One
Yana icon
By Ayana Young
Ayana Young is a communications and PR strategist with 15+ years of experience spanning media relations, lifestyle brands, professional sports, and publishing.
4 min read • Originally published August 9, 2017 / Updated March 19, 2026
Yana icon
By Ayana Young
Ayana Young is a communications and PR strategist with 15+ years of experience spanning media relations, lifestyle brands, professional sports, and publishing.
4 min read • Originally published August 9, 2017 / Updated March 19, 2026

You’re up on the latest digital trends from content management platforms to social media strategy. You have a solid background as a story-teller, pitching, writing and editing, along with an arsenal of talented freelancers tucked in your back pocket. And, you can efficiently deliver big projects to clients on deadline.

If this communications guru sounds like you, consider taking your next career step into the growing field of content consulting.

We sat down with Diana Charkalis, a Los Angeles-based content consultant, who got her reporting and editing chops at newspapers like USA Today and LA Daily News and then moved into the digital realm, producing content and managing editorial teams for sites like Warner Bros.’s Momlogic, Disney, Babble, and eHow.

Now Charkalis is working as a content consultant, using skills from her journalism and digital content backgrounds to consult for big brands like Fandango and Brit + Co.

What exactly does a content consultant do?

A content consultant is hired by companies to come in and elevate their brand, creating messaging that connects the client with their audience.

“There is so much content and noise out there, and you have to think how do you make your content rise above the rest and get seen,” says Charkalis.

A content consultant also helps with content marketing and editorial strategy, organizing a brand’s content by creating editorial and social media calendars, along with style guidelines so a company can communicate their message.

If content providers like journalists, photographers, bloggers and vloggers are needed for story creation, a content consultant will create a virtual newsroom of freelance contributors to help with influencing the client’s audience. Another aspect of Charkalis’ job is content strategy—developing online experiences that involve collaborating with other teams throughout the company.

What skills does a content consultant need?

Communication skills are a must, as a content consultant will be working with an array of departments such as editorial, marketing, the product team, the creative team, analytics, engineering and ad sales.

“You need to have an in-depth understanding of each discipline’s role in the process—who to go to,” says Charkalis. “You are coming in from the outside, so coming in you must have a working knowledge of how things work, so you can assimilate and get the work done.”

As far as technical skills are concerned, you must have experience with platforms for digital publishing, content management and social media.

An understanding of data analysis, along with tools like Google Analytics and Omniture, is also a must in order to track content performance. This way you can troubleshoot and fine-tune messaging.

“And, of course, you have to have your wordsmith skills—a star at writing, reporting and editing,” she says.

If all that wasn’t enough, being skilled at content creation, brainstorming, pitching and presenting ideas is essential too.

Who does a content consultant report to?

Depending on the company, the content consultant’s primary point person is usually the head of content or head of marketing. However, they also interact with people across different departments while working on projects.

“It involves a lot of networking and making sure people feel comfortable with you, and giving them a sense that you are there to help them,” she says.

How can someone become a content consultant?

Before entering the consulting world, spend time in the field and make your way up the ranks in the marketing or editorial industry.

“For the jobs I’ve done, I would usually say what companies are looking for is someone with 8 to 10 years of experience in content, editorial, marketing, content strategy or journalism — a mix of that,” says Charkalis.

It is truly a hybrid role.

What tips do you have for excelling in this position?

Staying on top of the latest editorial and marketing trends is important to succeed as a content consultant.

“It’s all about evolution. You need to keep learning all the time,” she says. “The landscape is constantly changing, and you have to grow with it and be up on the latest technology and whatever the newest platform might be.

I’m in a lot of LinkedIn groups that are journalism-based and marketing-based to see what everyone is talking about. It’s really fun, and it’s a constant evolution.”

 

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Advice From the Pros, Be Inspired
Skills & Expertise

4 Things Writers Need to Know About Fact-Checking

Even one mistake can cost you the assignment. Here's how to catch errors before your editor does.

4 Things Writers Need to Know About Fact-Checking
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By Ayana Young
Ayana Young is a communications and PR strategist with 15+ years of experience spanning media relations, lifestyle brands, professional sports, and publishing.
4 min read • Originally published August 21, 2017 / Updated March 19, 2026
Yana icon
By Ayana Young
Ayana Young is a communications and PR strategist with 15+ years of experience spanning media relations, lifestyle brands, professional sports, and publishing.
4 min read • Originally published August 21, 2017 / Updated March 19, 2026

Editors want a lot of things from writers, but there’s one thing they never want: factual errors. When an editor sees one mistake, she naturally assumes more will follow. For a freelance writer, that’s clearly bad news.

“These days I have such a small pocket of money for freelancers that I don’t want to waste a cent of it on someone who might not deliver something I can trust,” says Susy Schultz, president of Public Narrative, a journalism training organization in Chicago. “I know this is also the case with many of the other media outlets we work with.”

With newsrooms running leaner and fact-checking departments disappearing even at outlets that used to have them, the burden of accuracy falls squarely on you. Most publications no longer employ dedicated fact-checkers, and the editors who do spot-check your work are doing it alongside five other jobs. A single error that slips through doesn’t just embarrass the publication. It marks you as someone not worth the risk.

So how can you fact-check yourself? Just put a little distance between yourself and your work, and you can catch errors before anyone else does.

1. Perfect the Pitch

Dear… How do you spell the editor’s name? “If they didn’t bother to look up how to spell my name, they’re probably not going to be the writer I want work from,” says Schultz, whose first name—Susy—is easily misspelled by anyone who doesn’t take the time to check.

Double check everything else in your pitch letter, too, paying special attention to proper names, titles and any other facts a knowledgeable editor can easily spot. “When you’re looking at a pitch letter, if there are red flags—the zip code is wrong, anything that you can immediately tell is wrong—it’s the triage factor,” Schultz says. “There’s no room to say, ‘OK, I’m going to give you a chance.’ That’s the harshness of the landscape right now.”

2. Don’t Mess Up Math

Maybe you went into writing because you’re good with words but not with numbers. But good writers have to get the math right in their stories, too. If you mix up your millions and your billions, if you don’t know a median from an average, or if fractions and percentages confuse you, you won’t be able to craft error-free copy.

You don’t need to be a mathematician. You just need to learn a few basics. “It’s fairly prevalent these days to see writers grabbing dubious statistics because there’s so much dubious stuff out in the world these days,” says David Zivan, group editor for the Chicago office of Modern Luxury publications. Even more common, he says, is a miscalculation of percentage change. “It’s a bugaboo for many of us English majors, but it’s critical in so many topic areas, real estate being a prime example. If you’re covering the change in prices in a neighborhood or a building, you’ve just got to get that right,” Zivan says.

Be precise down to the decimal point, adds Wendy Cole, editor of Realtor magazine, or you might be off by a factor of a hundred. “We’re so casual in our communication that it seems formal to ask where the decimal point is, but precision is important. This is where a miscommunication becomes a mistake. The casual way we communicate can lead to wrong assumptions. The onus is on the writer.”

3. Check Your Conclusions

It’s not enough to know why you reached a conclusion; your editor needs to know, too. “You need to prepare source information so that if there are any questions about how the writer came to a conclusion, that it can be fact-checked,” says Candi Meriwether, former managing editor of Jet magazine, who now teaches journalism at Columbia College Chicago.

In addition to providing enough facts so that readers can see how you determined that something is a trend, or overpriced or underappreciated, share your source list with your editor. And before you submit your story, check the facts in those sources again and make sure you haven’t jumped to any conclusions.

4. Remember: Nobody Has Your Back

“Some freelancers have an assumption that all magazines have fact-checkers, but not all magazines do because many have small staffs,” Meriwether says. “That role did not exist at Jet.”

In fact, fact-checkers don’t exist at many smaller magazines, and they are even less common at online publications. Instead, editors (and sometimes copy editors) are the only ones who perform any fact-checking, and they do it on top of numerous other editorial duties and under time pressure. This means a freelancer’s errors may not get caught before publication.

There are many ways to turn off an editor, and making a publication issue a correction is among them. “You should cover yourself because, ultimately, it’s going to reflect on you if there are errors and you won’t be hired again,” Meriwether says.

Topics:

Advice From the Pros, Skills & Expertise
Advice From the Pros

13 Questions With Journalism Professor Sharon Bloyd-Peshkin

Teaching the importance of checking the facts

13 Questions With Journalism Professor Sharon Bloyd-Peshkin
Yana icon
By Ayana Young
Ayana Young is a communications and PR strategist with 15+ years of experience spanning media relations, lifestyle brands, professional sports, and publishing.
5 min read • Originally published August 25, 2017 / Updated March 19, 2026
Yana icon
By Ayana Young
Ayana Young is a communications and PR strategist with 15+ years of experience spanning media relations, lifestyle brands, professional sports, and publishing.
5 min read • Originally published August 25, 2017 / Updated March 19, 2026

From magazine editor to professor of journalism and freelance writer, Chicago-based Sharon Bloyd-Peshkin teaches the basics of the field while emphasizing the importance of fact-checking and its role in protecting writers and publications from lawsuits.

Bloyd-Peshkin is now sharing her expertise with Mediabistro as a guest instructor for the new online training course Check Yourself: Quick, Simple and Thorough Fact-Checking.

Vital Stats

Name: Sharon Bloyd-Peshkin
Company: Columbia College Chicago
Title: Associate Professor of Journalism
Years with Company: 14

Hometown: Oak Park, IL
Where do you work? Chicago, IL

 

Education

College: BA, University of Chicago; MA, University of Virginia
Major: BA in Humanities; MA in English Literature

 

Social Info

Instagram: speshkin
Twitter: @speshkin
LinkedIn: Sharon Bloyd-Peshkin

1. What was your first real job? How did you get it?

My first “real job” was as a radio producer for a talk show on WGN Radio in Chicago. I’m not really sure why they hired me, but I learned some valuable things there, including how to pick up a phone and call someone to explain how they fit into a show and invite them on. There are a lot of connections between that and calling sources to explain how they fit into a story and convince them to talk to me.

2. Please describe what you do in your job in one to three sentences.

I teach a wide range of classes at Columbia College Chicago, from Introduction to Journalism and Essentials of Interviewing, to Interpretive Reporting and the College Magazine Workshop, in which students in Journalism and Design programs create and publish an award-winning magazine over the course of one semester. I also write for a variety of publications and do research into how fact-checking is practiced and how it is changing.

3. Is this where you always thought you’d end up? Or has your career been a wild ride of curveballs and left turns?

I had no intention of becoming an academic, and didn’t really plan to go into journalism, either. But I’ve always been a very curious person, enjoyed talking to people and learning from them, and loved to write, so perhaps it was inevitable.

4. What inspired you to break into this role?

I was a magazine editor for 13 years. Toward the end of that time, I taught a course in magazine editing at Northwestern University and loved it. So when Columbia College Chicago posted a faculty position teaching magazine writing and editing courses and advising the college magazine, I jumped at it!

5. What about your job gets you excited to jump out of bed every morning? What makes you want to hide under the sheets?

I’m always excited about finding creative ways to engage students in journalism. I don’t lecture; rather, I try to make my classes journeys of discovery. I love helping students improve their story ideas, their research and interview skills, their writing and their storytelling in any medium, but I don’t really like grading.

6. How do you stay on top of trends in your field?

I work as a freelance writer, do some pro bono magazine editing, and have many friends and colleagues who are active in the field. My research also requires me to interview editors around the country.

7. What skills do you want to develop and why?

For me, social media is hard work. I’m kind of a private person and I’m not big on self-promotion, so I struggle with that. I’m far more comfortable posting to a company Instagram than I am to my own!

8. What leaders or companies in your field do you follow? What do you like about them?

Too many to name! But if I had to name the magazines that I have “fact-checking crushes” on, they would be The New Yorker, WIRED, and Mother Jones. They and a few other magazines—Vanity Fair, Esquire, and The Nation among them—set the bar for contemporary fact-checking processes despite the pressure to produce ever more content ever more quickly on all platforms.

9. What’s the biggest misconception people have about this field/role?

Fact-checking has gained a much higher profile in recent years with the rise of political fact-checking, but I don’t think many people are aware of how fact-checking got started in magazine media or what role it plays to this day in protecting writers and publications from lawsuits and in bolstering their reputations for reliable journalism in a sea of content.

10. What’s the one piece of advice you would give to someone looking to break into this field?

I’ll answer this for journalism, not for fact-checking. No matter what type of journalist you aim to be or what medium you want to work in, you still need to develop the traditional skills of rigorous and thorough reporting, effective interviewing, clear and accurate writing, and interesting storytelling.

11. Why did you choose to become a Mediabistro instructor, and why do you think it’s important for people to learn the skill you are teaching?

I think it’s more urgent than ever for content creators to learn to fact-check their own work because they aren’t likely to have anyone else fact-check their work prior to publication, and the consequences of public errors can be devastating to their careers. I’m thrilled to be able to reach a wide variety of people who want to get this training through Mediabistro.

12. What tips do you have for students taking your course?

Fact-checking is a mindset as much as it is a skillset, so come into this course with an open mind and you’ll probably find it will change your writing as much as it changes what you do after you’ve finished a story.

13. What are you reading and/or watching right now?

I’m reading The Death and Life of the Great Lakes by Dan Egan and listening to the podcast Revisionist History by Malcolm Gladwell. The last thing I watched that I couldn’t stop talking about was Westworld.

Get to know Sharon and learn the invaluable skill of fact-checking in her new course.

Topics:

Advice From the Pros
Advice From the Pros

How to Handle Rejection From Editors and Keep Writing

Learn to handle rejection professionally, and keep it moving as a writer

How to Handle Rejection From Editors and Keep Writing
By Anni Irish
4 min read • Originally published September 27, 2017 / Updated March 19, 2026
By Anni Irish
4 min read • Originally published September 27, 2017 / Updated March 19, 2026

Rejection is unfortunately a part of life. But for writers, it can sometimes happen on a daily basis. Getting a rejection letter can be stressful, and may even make you question your abilities as a writer. While hearing “No” is par for the course as writing professional, there are still things that can be done to help you learn from the process, and to improve this often uncomfortable situation.

Here are six tips to assist you in the pitching process and to help make the sting of rejection more manageable.

  1. Shake it off

As a writer at any stage in your career, you will inevitably get a rejection letter. While this is a professional causality, it can bruise your ego and hurt your feelings in the process. However, the quicker you are able to develop thick skin, the better equipped you will be to deal with rejection in the long run.

Getting used to criticism, and having your ideas rejected, can be an adjustment. But once you make this change, you will see an improvement in how you react to this situation. While there is no right way to handle rejection (and this is certainly easier said than done), being able to hear it, process it and move on, without being reactionary, is one of the healthiest things you can learn to do as a writing professional.

  1. Ask for feedback

You just sent out a pitch, and got a rejection email. In this situation, be grateful you heard back. Editors are busy people juggling multiple writers. Sometimes a story just isn’t the right fit for the publication. However, if an editor took the time to write back, read the email carefully and be sure to follow up. Ask for feedback on the pitch: why it didn’t work for them and how it can be improved. Another possible course of action is to ask the editor if they are looking for stories on specific topics.

Once you receive a response, incorporate the feedback into your next pitch. Remember, just because one editor turned down a story, doesn’t mean your piece won’t find a home. And ultimately, getting feedback on your pitch could lead to a stronger working relationship with an editor and the publication or website they are associated with.

  1. Turn a negative into a positive

Don’t get discouraged when your pitch isn’t accepted. You can still turn the situation around, and as a freelance writer, sometimes you have to be a creative problem solver.

Looking for an unexpected story idea, spotting a trend before it catches on, trying to place your story with a different publication, or just simply emailing an editor to see if they are taking on freelance pieces, could work to your advantage. Being creative is a valuable skill to have, and while your pitch may not have landed in the exact publication you imagined it in, after some tweaking, it may end up with a home after all.

  1. Learn from the process

A lot of rejection is arbitrary, and out of your control. The quicker you are able to realize this, the better off you will be in the long run. The pitching process is all about learning what to do. With each new pitch you send out, you will become a stronger writer and able to decipher what a story is and is not. You’ll also get a better sense of the publications and websites you are pitching to.

When pitching to specific places, it’s helpful to already be familiar with their content so you will have a better idea of the kinds of stories they may be looking for. Go on the magazine’s website, or the site of where you will be pitching, and conduct keyword searches of your article ideas. This way, you will be saving yourself and the editor time if there is already a similar story up. If that’s the case, you can potentially offer another angle, and hopefully, place your story.

  1. Don’t take it personally

Writing is a hard industry to break into. And sometimes it may seem that you are hearing more no’s than yes’s. If that is the case, don’t take it personally. Like other industries, writing isn’t immune from seasonality; depending on the time of year, you may find it harder to place stories. For example, editors may not be able to take on pitches from outside writers due to budget constraints or other issues.

Another thing to keep in mind: try to pitch stories ahead of the curve. Editors work off of an editorial calendar, so if you know that summer is coming, or a blockbuster movie is being released on a certain date and you are dying to review it, pitch early and often! Being able to sort professional rejection from personal life is a hard skill set to learn, but once you are in the practice of doing it, it will make your pitching process less stressful and more fun in the end.

  1. Think positively

Thinking positively can sometimes make all the difference when pitching. If you are more confident in your writing skills, this will come across in the pitches you are putting out. Be excited about the story ideas you come up with and convey that in the emails you send out. A little positive energy can go a long way. By adjusting the way you think, this may help you yield more positive results.

Topics:

Advice From the Pros, Be Inspired
Advice From the Pros

Taffy Brodesser-Akner on Going from Personal Essays to The New York Times Magazine

How personal essays led to writing for The New York Times

Taffy Brodesser-Akner on Going from Personal Essays to The New York Times Magazine
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By Addie Morfoot
@kamorfoot
Addie Morfoot is a journalist and writer with over 21 years of experience contributing to The New York Times, Variety, the Wall Street Journal, and Crain's New York Business. She holds an MFA in creative writing from the New School and covers film, television, real estate, and entertainment.
7 min read • Originally published October 2, 2017 / Updated March 19, 2026
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By Addie Morfoot
@kamorfoot
Addie Morfoot is a journalist and writer with over 21 years of experience contributing to The New York Times, Variety, the Wall Street Journal, and Crain's New York Business. She holds an MFA in creative writing from the New School and covers film, television, real estate, and entertainment.
7 min read • Originally published October 2, 2017 / Updated March 19, 2026

In the short span of seven years, she went from prolific personal essay writer to prolific feature writer for The New York Times Magazine and GQ Magazine. At The Times, she won the New York Press Club award for her profiles of Gaby Hoffmann and Damon Lindelof, and at GQ, she won the same award for her profile of Don Lemon, which also garnered a Newhouse Mirror award.

She can make anyone or anything interesting, which is probably why editors all over the country want to hire her. In addition to The New York Times Magazine and GQ, she has written for publications including Bloomberg Businessweek, Afar, Playboy, Cosmopolitan, ESPN The Magazine, Texas Monthly, Outside Magazine and Matter.

In June, it was announced that Brodesser-Akner, who worked at Mediabistro from 2001-2007, would join The Times as a features writer for Culture and a staff writer for The Times Magazine.

Why did you decide to start writing personal essays?

I started writing personal essays after the birth of my first son, which was traumatic. Something horrible had happened to me and thank god my son, and I were ok, but I was really traumatized. It opened up something in me where I no longer felt compelled to have any privacy. I just needed to be heard and listened to. So I wrote personal essays, and I couldn’t believe how much people responded to them. For the first time in my life, I didn’t have to be screaming to be heard, and I was heard way more effectively.

You wrote A LOT of personal essays in a short amount of time for many different magazines. Did you learn anything while writing essays that carried over to your feature and profile writing?

I learned that people will leave at the drop of a hat if you are not precise, interesting, entertaining and informative. If you are not those things in a very brief period of time, then readers will leave.

Anything else?

Yes. Always send in clean copy, spell checked copy and all in one font. People to this day remark on how clean my copy is and I think, what are other people turning in? Also, with edits, be amenable, never defensive and never late with the edits.

Did your essays help launch your feature writing career?

Being willing to talk about anything and really bare my soul got me in doors. My first story for The New York Times was a personal essay about why people are so mean on the internet. (“E-Playgrounds Can Get Vicious” April, 2010)

Did you know someone at the Times or did you cold pitch?

I cold-pitched someone whose name I got from somebody else, and I said, ‘I have this idea for a story and I would like to track down some internet trolls and figure out why they are the way they are.’ And he said, I don’t think you will be able to do that but you could try. So I did and I came back with what I found, which was that no one was willing to talk to me. But I still had feelings about the subject, so I did what I still do to this day which is when the story that is supposed to happen doesn’t happen, I fill the space with something that is equally or more interesting.

And they published it as is?

There were edits, which I was so nervous about. I received each of them as a scathing criticism. But in reality they were really just innocuous, gentle edits for a line there or here. I remember saying to my husband, ‘I’m so glad I will never have to do this again. I never want to write for The New York Times again. I’m so glad that I will be able to say that I wrote for them once and that was that.’ I didn’t want to do it again because I was so nervous the whole time. The stakes seemed so high and I don’t think it was one of my best stories. I liked it but I noticed when the stakes were lower I was freer.

You are a confident writer who isn’t scared to say what she thinks in essays, profiles or features. That can be hard for writers. Did you learn it or have you always been a confident writer?

I didn’t always have it. I learned very quickly from writing personal essays that people responded to them because they related to them. We are not that different than each other. The more specifically and the harder I go on the things that I’m feeling, the more I am guaranteed that people will relate to it.

Sometimes you incorporate yourself into your profiles. That can be tricky. How do you decide when it’s appropriate?

I think my profiles are personal essays applied to other people. Any time I’m in a story I have to be very, very careful not be self-indulgent. I’m there as the reader in a very general, readerly way. I only bring myself in when I think that I can elaborate better on the thing that (my subject and I) are talking about.

You have profiled many celebrities including Tom Hiddleston, Nicki Minaj and Rob Pattinson. What do you do as a writer when you aren’t interested in the person you profiling?

Here’s your job when you are assigned somebody: You stay there until you understand why a magazine that you love is interested in him or her. You have to figure out why people love this person. You are not there to say whether or not you like them. You are there to say what it was like to be with them. You are in a room with this person who has a lot of fans because more people like them than hate them.

You are known for being a prolific writer. How many stories are you working on at any one time?

A lot. There have been times when I’ve been assigned 12 or 13 stories at one time, but they aren’t due at the same time. Every story gets what it needs. Some stories are really easy and some stories are really hard and some stories I have to report and wait a few weeks while it percolates in my head and then I sit down to write it. I’m lucky I don’t find writing sentences excruciating.

What have you learned in the last six and half years freelancing for so many different publications?

I’m far more efficient now. I like to write for an editor. I know what each editor will like and what is going to push their limits. I know how it’s going to go.  So the thing that has changed is now I’m very focused on how do I tell this story to this editor in the most compelling way possible.

Any advice when it comes to working with editors?

Be decent. If you are decent in every single way nothing can really hurt you. People will always remember your decency. This is a relationships business. If you don’t act decent this world can turn on you very quickly, but at the same time whatever your flaws are, and we all have flaws as writers—I overwrite—they are made up for in being a decent person and being somebody that people would like to interact with over and over again.

How do editors handle your “overwriting”?

I find that if you apologize, and say that you have really tried to keep it to the word count, that helps and you don’t get yelled at. You have to make a compelling case that you could not figure out a way to tell this story differently. And if you show your passion and show that it was never a function of laziness, then people will work with you.

After all of your success is there anything you are still trying to improve upon?

You are always at war with the last thing you did. How can I make it better? That’s what I try and concentrate on—getting better than I was last time. I’d always like to get better at telling the most complete version of a story.

Why leave the freelance world for a staff position?

One of the reasons I wanted to take a job was to not write quite as much as I was. I always wondered what it would be like to be able to immerse myself for longer and more exclusively into one subject. What would that do for my writing? I’d like to see.

Topics:

Advice From the Pros, Be Inspired

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