Early in her writing career, Jessica McCann was given the opportunity of a lifetime: An interview with U.S. Supreme Court Justice Sandra Day O’Connor.

“I was a bit star-struck to be speaking with such a powerful woman in America’s history,” recalls McCann, an Arizona-based writer and author of All Different Kinds of Free.

During the phone interview, she wound up saying something that seemed to cause O’Connor to clam up___shortly after, all she got was short answers and plenty of silence. “It was a disaster,” adds McCann.

McCann faced an issue that many reporters deal with: interviewing a prominent individual or celebrity. Dealing with this kind of situation goes beyond calming your own nerves. To nail a sit-down with an important person and still churn out a top notch report, there are certain things even the most seasoned journalist must consider.

Doing your homework

Let’s face it: well-known people typically get asked the same questions over and over. Celebrities, in particular, often grant interviews during press junkets or a media tour, which means every other reporter will likely have the same information about the project that you do. If you want to get more than the cliche “this is my most personal album” answer from a musician or the “everyone on the set was like a family” quote from a TV star, you must do some digging beforehand in order to stand out.

Veteran music journalist and filmmaker Nelson George summed it up this way: “Try not to ask the same questions they’ve been asked a million times. That’s a good start. Some things are inevitable, but if you’ve got to ask it, ask it in a different way. So it’s always about trying to find an angle that’s different. One of the most important things is to know their body of work. Artists love it when you know about not the hit records or the hit books or the hit movies, but the things that weren’t as successful. Be aware of their complete body of work.”

Kenneth Miller, a seasoned journalist who has written for Time, says the key to a good discussion with a well-known subject — or anyone, for that matter — is to learn about him or her, and what they do.

“That helps establish a rapport from the get-go,” he says. “The celeb is usually grateful that I’ve bothered to do my homework___many reporters don’t, apparently.”

When Jane Hodges, a Seattle business journalist and author was interviewing the CEO of a real estate investment trust recently, she took the time to research the company.

“People appreciate it if you’ve done your homework and if you can speak to them in the acronyms and lingo of their business. It makes them feel confident that you’ll use the material in context and that they can share juicier things with you,” she explains.

“First and foremost, she’s a human being. It’s critical to relate to her on that basic level, person to person, rather than gush and fawn like an idiot.”

Breaking the ice

Understandably, a high-profile interview can present some jitters; so many journalists try to warm up the atmosphere before diving in with hard-hitting questions.

“Offering up a compliment or two is a great way to break the ice and get the interview subject to open up, as long as compliments are sincere,” says McCann. Just don’t overdo it, she advises.

I once stumbled over my words with Maroon 5 front man Adam Levine and wound up telling him he had mastered the “f***-you song” since many of his tunes incorporate feelings of anger. But Levine wasn’t miffed. He seemed to take the gaffe as a compliment and a sign that I was approachable.

But is it a good idea for reporters to disclose their admiration to an interview subject?

“Why not?” asks Vincent Schilling, a freelance journalist. When he interviewed Wayne Newton, he let the singer know that he was a fan of Mr. Las Vegas. “Sure, there is a gray line between idol worship and professional, but my job is fun. Being a stick in the mud stinks.” He says saying something pleasant or joking a bit in a lighthearted manner helps break down some walls, which can lead to a great discussion.

Broaching the difficult topics

A solid handshake or some chitchat can go a long way to enable the subject to feel comfortable with you. But before you begin saying or doing anything, it’s important to develop and sequence your questions in a way that allows your interviewee to open up and deliver the answers you need.

In the event that you have to ask questions of a sensitive nature, Hodges says to talk about other topics first if possible. But when you do have to ask about a scandal or other touchy subject, distance yourself so the question is posed in way that shows you are not personally interested, but are simply gathering information.

“I say things like, ‘Well, I do have to ask you about what’s happening with___fill in the blank. I know that’s probably not a pleasant topic for you, but as part of the story I’m doing I need to address that with you. Others have said [this and that], but what do you have to say?'” Hodges offers.

Schilling says honesty is best, and he lets his subject know that they can speak off the record. “I will honor it,” he adds.

Brad Holbrook, a former journalist who makes promotional videos for actors at ActorIntro.com, once interviewed the CEO of an oil company after its oil well exploded and killed several employees. “I had to spend the first 15 minutes of the interview chatting about his favorite football team just to establish a sense of trust between us,” notes Holbrook. After the pleasantries were exchanged, Holbrook said the CEO was much less guarded.

Working with publicists

Sometimes no matter how thoroughly you prepare, it’s not you or the newsmaker who poses obstacles to information, but his gatekeeper. Managing a relationship with a publicist can be tricky: he’s there to protect his client and will likely tell you how long you have for the interview and what subjects to stay away from. In some cases, he may tell you that something his client said cannot be used in the article.

“If you’re interviewing a star involved in a scandal so big that you’d be remiss not to ask about it, you have to ask. The worst you can be told is no.”

But remember that you’re there to get quotes and facts for your story, regardless of how the interview subject may feel. “Publicists can control access to a person, but they can’t make you strike from the record things that the source or expert has already shared with you,” notes Hodges.

Heather Larson, a writer and on-air personality based in Kansas, says working with a publicist is imperative to secure current and future interviews. If the publicist asks you not to talk about a topic with his client you can still turn around and ask the question anyway. But consider that relationship gone if you do, she says.

“If you’re interviewing a star involved in a scandal so big that you’d be remiss not to ask about it, you have to ask. The worst you can be told is no,” she says.

McCann says it’s better to keep your word if you tell the publicist you won’t touch on a topic. “Don’t make empty promises only to land the interview. It will come back to bite you. Publicists talk to one another, and if you get a reputation for being deceitful, it will hurt your chances of landing high-profile interviews in the future.”

Sometimes, a publicist simply may not grant you access to the person he represents.

In that situation, Hodges says you can always say that without hearing from the client, you have to resort to speaking to other people about the topic. “Tell the publicist that you’d rather let the source speak for him/herself than let others gossip,” she adds.

Whether you are nervous about bringing up a celebrity’s stint in rehab, can’t stand the politician you have to write an expose on, or simply blush when you get to interview the singer of your favorite band, being a journalist isn’t always easy.

McCann says the most valuable takeaway she learned from her flub with Chief Justice O’Connor was not to put an interview subject on a pedestal. “First and foremost, she’s a human being. It’s critical to relate to her on that basic level, person to person, rather than gush and fawn like an idiot.”

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Kristen Fischer is a Certified Professional Resume Writer (CPRW) living at the Jersey Shore. Find out more about her by visiting www.kristenfischer.com.

Is it April already? Not quite, but it is the season of dread, otherwise known as tax season. So as you scour your files for errant receipts, collect your 1099’s, and finally figure out if you can claim your home office as a business expense, now is the time you should also explore whether you are missing out on other, lesser known deductions. Plus, there are new “twists” on well-known deductions for your 2010 return. Health Savings Accounts

One of those “hidden” tax deductions least considered by freelancers and the self-employed are HSAs, or Health Savings Accounts. They are “as good as a retirement saving account, and in some cases, even better because you get the upfront tax deduction when you contribute money to an HSA,” says Eric Tyson, author of the forthcoming Personal Finance in Your 20s For Dummies and several other best-selling personal finance books.

“The investment earnings compound without taxation over time, and then if you withdraw the money in the future for healthcare-related expenses, you do not pay taxes on the backend. There are no retirement accounts that can give you that so-called triple-tax free benefit where you are getting the tax benefits upfront, on-going, and then on the back-end,” Tyson adds.

Even if you don’t use all of the money in your account for health care reasons, you can still withdraw money for other, non-health care expenses, although you will pay a penalty if you’re under 65. If you decide to tap into the account early, you will also need to pay income taxes on the money just like you would with a retirement account withdrawal. Other restrictions apply so read the small print if you decide to sign up.

Health Insurance Premium Deduction

Health insurance premiums are also tax deductible, but there is a new twist for 2010. When Congress passed the Small Business Jobs and Credit Act in September, it included new provisions for the self-employed. “In 2010 only, you get to write off the full amount of the premium on your tax return not as a business deduction, but as an adjustment to gross income on your personal return,” says Barbara Weltman, tax and business attorney and author of J.K. Lasser’s Your Income Tax 2011: For Preparing Your 2010 Tax Return.

Previously, self-employed individuals could deduct premiums from their income before calculating income tax, but not before calculating self-employment tax. Now, they can deduct the cost of health insurance premiums from their income before computing self-employment tax. Again, this is for 2010 only.

Home Office Deduction

Have you ever sat down and really scrutinized Schedule C to see if you are maximizing your deductions? “There are a lot of individual line items and within each line item on Schedule C, there are a lot of different things that you can take. I have found that simply the process of people proactively familiarizing themselves with what they can take as deductions gets them thinking about that during the year,” says Tyson.

“I hear some people say, ‘Don’t take it because you are going to subject yourself to an audit.’ Well, that’s just dumb. If you are legally entitled to take a home office deduction, you should take it.”

Most freelancers and self-employed people are aware of the home office deduction available on Schedule C, yet many are reluctant to actually take it. “I hear some people say, ‘Don’t take it because you are going to subject yourself to an audit.’ Well, that’s just dumb. If you are legally entitled to take a home office deduction, you should take it. If you are in a grey area and the deduction is not worth much, then that’s a different situation. But if you qualify based upon the reading of the rules, then by all means you should take it,” Tyson says.

Section 179 Depreciation Deduction

If you purchased a new computer, printer, iPad, or other piece of office property in 2010, the Small Business Jobs and Credit Act eased restrictions on how much you can depreciate and when. These kinds of property write-offs are known as Section 179 deductions, and for the 2010 tax year you can now, if you qualify, deduct the full cost of your new computer or printer instead of depreciating it over several years. “This 100 percent bonus depreciation is very favorable,” says Weltman. “The only caveat here is that it only applies to new property, not to pre-owned property.” The other requirement is that your office purchase must have been placed into service after September 8, 2010 in order to get the full write-off. If in use before then, you can only qualify for 50 percent bonus depreciation.

Payroll Tax Holiday

In December 2010, President Obama signed into law the Tax Relief, Unemployment Insurance Reauthorization, and Job Creation Act of 2010, which created a new tax break that applies to 2011 earnings, popularly referred to as the Payroll Tax Holiday. Sure, you can’t take it now, but it is a bright spot on next year’s tax horizon.

“For employees, [the Payroll Tax Holiday] means a 2 percent cut in the social security portion of their FICA. But if you are self-employed like many freelancers are, they get the benefit of this break by reducing the social security portion of their self-employment tax that would basically be considered the employee’s share. So they are going to get this break, but because they are not on the payroll, they get it by reducing their estimated taxes,” Weltman says.

“The tax law is very complicated. There are provisions that are effective only in 2011. There are provisions that are effective for the first time in 2011, and that is a challenge for people to know what they need to do in order to take advantage of tax savings opportunities.”

Whether you decide to take some of these lesser known tax deductions in 2010, the best overall advice for maximizing — and safe-guarding — your return is what we all (hopefully) already know: keep detailed, organized records throughout the year.

“Document, document, document. First of all, when it comes time to preparing your return, the documentation will help you to make sure you’ve captured everything and get it into the right categories on the form. Longer term, in the unlikely event that you do get audited, you’ve got the documentation to back up what you are claiming,” says Tyson.

Weltman adds, “The tax law is very complicated. There are provisions that are effective only in 2011. There are provisions that are effective for the first time in 2011. There are provisions that expire and are no longer effective in 2011, and that is a challenge for people to know what they need to do in order to take advantage of tax savings opportunities.”

The life of the self-employed is indeed rough. The key is to stay up on the latest tax laws (or, let’s face it, find a good accountant), so you can keep more of those increasingly hard-to-come-by dollars and focus on the fun stuff, like working at your leisure. After all, isn’t that why you went freelance in the first place?

NEXT >> Tax Time Tips for Freelancers

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Jennifer Pullinger is a freelance writer and publicist in Richmond, VA. Visit her at www.jenniferlpullinger.com.

At any given minute, a writer somewhere is being told ‘no’ by magazine editors, book agents, consulting clients, and these days, even potential connections on LinkedIn.

Aspiring freelance journalist Ishea Brown Arnold says she might have received the quickest rejection email in history after pitching a story idea to a popular online women’s magazine. “I was both excited and slightly nervous to pitch my first story idea,” says Arnold. “Imagine my surprise when [the editor] responded to my email within five minutes. I attempted to throw a few more story ideas her way and was once again shut down in record time.”

Even the most established scribes know that for every 10 ideas they generate, a paltry one or two might actually result in a byline. But if you are committed to your craft and story, stick to it. Rejection may be inescapable, but it’s the recovery that makes all the difference.

What One Publication Won’t Accept, Another Will

Pitching is as unpredictable as a roll of dice, says Demetria L. Lucas, relationships editor at Essence. “Sometimes you can pitch something to say, six or seven different magazines, and the first six will say, ‘Eh, it’s not really for us,’ but the seventh will say, ‘I think this is great.’ Sometimes somebody will pitch something and it’ll be a great story, but not for us.”

Short story writer and author Dolen Perkins-Valdez avoided rejection of her novel Wench because she didn’t submit the manuscript prematurely. She also says writers often are too preoccupied with the logistics of book publishing, instead of perfecting the material first.

“I think sometimes as writers we get so excited when we have a completed manuscript, and we start to submit it before it’s ready. Don’t think about the publisher and the agent, just write the story,” says Perkins-Valdez. “Get it written and then worry about that, and if that doesn’t work, then self-publish. The important thing is that we write our stories.”

While you’re at it, consider searching for other magazines or publishing houses that may be interested. Pitching is constant, so researching various outlets should be, as well.

Know When to Say When

It’s easy to become attached to an idea, but there comes a time when “no really does mean no,” according to Stephanie Davis Smith, editor-in-chief of The Atlantan and contributing editor to Jezebel and Men’s Book Atlanta. “I say if three editors don’t see the value in it, and you know it’s right for their publication, scrap it. It might be something they’ve seen before or someone on their team is already working on it.”

“Once, I taped all of my rejection letters on my wall and then it covered the entire wall.You have to just keep going forward.”

Lucas says going for the usual hot topics, such as current events or hot guys and sex, in an untimely manner is a trap many writers fall into when pitching to Essence. “A clear sign for writers to drop their ideas is when you see the same things somewhere else. As much as [editors] brainstorm on ideas all the time, there are very few new things,” she says. “What makes it fresh is the perspective that a writer brings to it.”

If you haven’t received positive feedback from any editor, go back to the drawing board, Lucas adds. “If you’re pitching ideas, you want them to sell. You want them to get picked up, and good ideas usually go pretty quickly. [Editors] know a good idea immediately when they see it.”

Find a New Hook

Sell your story by making it relevant and timely. “The best way to pitch a common story is updating the cast of characters in it and tying the story into something going on in the news,” says Jozen Cummings, digital content director for hip-hop magazine, XXLmag.com.

Cummings says writers should ask themselves what makes their story idea unique before formally pitching to editors. A common mistake music journalists make is pitching profiles or Q & A’s on new artists who the editorial staff is likely to have covered already. “Find some nuance in the story you pitch, a hook that makes it different from all the stories we’ve read on a similar topic.”

He shares an example, “I don’t want someone to pitch me a story on Yelawolf being the ‘new white rapper of the moment.’ That’s obvious. But if someone pitched me a story on Yelawolf and other rappers from Alabama who hit it big, that’s a Yelawolf story I can possibly get into.”

Smith suggests brainstorming exercises to generate new story ideas. “Sometimes I just like to write down an idea and then brainstorm on 10 or 12 different ways to angle that story,” she says. “After three or four, wild ideas start to come out and that’s usually when you get something original or new.”

Befriend Your Editor

Sometimes a no is a just a delayed yes. Building a rapport with editors through follow-up is key in turning a rejection into an assignment, Smith says. “It’s all about developing a relationship with the editor where you’re bringing them great ideas,” she says. “The better and more original the ideas, the more likely they will respond and assign you something.”

Editors may not have time to explain why story ideas or manuscripts were denied, but sending a simple handwritten thank you note or email with more suitable pitches attached is still in order.

“If I get a personal note from an editor that says, ‘Thanks, but no thanks,’ I’ll write them back,” says Perkins-Valdez. “I don’t do it often, but if the door’s cracked open — I can see a little bit of light — I’m stepping through that door.”

“Every single person who’s gone on to be a great writer or a great editor has had tons of rejection letters.”

There are more innovative ways to keep editors engaged after rejection. When pitching them, include links to your blog or website, Facebook and Twitter handles. Lucas says even if the story idea is rebuffed, writers can still leave lasting impressions. Though she may not greenlight every piece, she will keep writers in mind for future assignments after reading their work and checking out their online interactions.

“I think using social networking is brilliant,” Lucas says. “It’s the smartest thing you can do to stay on an editor’s radar because please believe we’re all on there. We’re on Gawker; we’re on Twitter and Facebook. We’re always searching for ideas.”

Let Rejection Motivate You

Perkins-Valdez’s Wench was accepted by its first publisher, but for the last 10 years, she’d been writing short stories for journals, such as The Kenyon Review. In that time, four of her stories were published, but she received plenty more snubs. Consequentially, she developed a thick skin she says is required for writers.

“Once, I taped all of my rejection letters on my wall and then it covered the entire wall,” she recalls. “You have to just keep going forward. Every now and then, when I think maybe I’m not a short story writer, something gets accepted.”

It’s impossible to sell every story or manuscript, so be creative in establishing relationships with editors, know when to drum up new ideas, and dig for alternative outlets for an idea, even if that means posting it to your own blog. Lastly, don’t take being turned down personally.

“It’s not a rejection of you; it’s a rejection of the idea,” Lucas says. “Every single person who’s gone on to be a great writer or a great editor has had tons of rejection letters. It happens to the best of them.”

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Alisha N. Tillery is a freelance writer living and working in Memphis. She maintains a personal blog, Because I Said So.

It seems every day a journo starts a blog. At first, it’s like any relationship. You love it and spend lots of time trying to make everything perfect. Then, the reality of maintaining it sets in. A day off here turns into a week off there, and before you know it your blog ends up one of the many left to curl up and die in cyberspace. But, when is it really the right time to abandon your blog?

That depends on your motive, says social media expert Jay Baer, whose widely read ConvinceandConvert.com has not suffered such a fate. While it’s tempting to write your blog’s obituary if it’s collecting dust, ask yourself a few simple questions before pulling the trigger.

Figure Out Your Motive And Stick To It

There are three main reasons people decide to launch blogs: to create community, to generate business or to increase awareness. So, if you’re a writer, you might blog to show off your writing chops or to attract paying assignments. Understanding your blog’s DNA can help you stay on track, advises Baer. Focus too much on comments, and you’ll go insane.

“That’s where people get messed up,” he explains. “If your goal is to build community, you need a personal touch. If that’s not your goal, comments are nice to have, but not critical.”

Graphic designer Josh Taylor launched his blog MakeSeriously.com to turn snippets of his life into a comic. In 2007, he started posting witticisms about work and the advertising world, hoping to entertain friends and strangers. Somewhere between getting married and buying a house, the daily-ness of life edged out blogging. “It’s just so hard to find time,” he says. “Isn’t that the tenet of blogging, that it shouldn’t take very long?”

Just as getting into shape and learning a language are time-consuming pursuits, blogging is no different. Baer updates his blog three times a week and has stuck to that schedule for three years. Blogging is a commitment, and if you want a dedicated audience, you have to “make the time to do it. The idea of ‘I don’t have the time’ is a fallacy,” says Baer.

“I’d get all excited in the beginning and then say ‘you know this is boring. No one’s reading this, why even bother to keep it?'”

The co-author of The Now Revolution is a frequent speaker at social media conferences across the county. During his weekly travel stints, he finds flying extremely conducive to blogging. He’ll bang out four or five posts at a time in transit and schedule them to publish throughout the week. “When the writing flows, you have to stick with it.”

When It’s Time To Purge Or Concur

Beth Gootee has launched four blogs within the last two years. As of June 2011, two remain. Gootee’s Forever Learning blog about “quirky life’s lessons” was never meant for prime time. “It’s about observations on the journey of life,” she says.

But even personal blogs can die on the vine. Just as Taylor launched his blog with great gusto four years ago, Gootee says hers is “going downhill fast. I haven’t written in a month or more.”

In early May, after she was laid-off from her job as a project coordinator at an automotive company, the sudden change prompted her to launch blog number four, Admin4hire.wordpress.com. The idea was to attract future employers and give voice to the exhausting process of looking for a new job, she says. So far, she’s made several posts and feels great. “My focus is more on the new one, because it’s about a current life situation.”

Gootee’s decision to off her other blogs was instinctual and quick. “They were purely personal. I’d get all excited in the beginning and then say ‘you know this is boring. No one’s reading this, why even bother to keep it?'” she says.

She considers Admin4hire a reflection of her emerging personal brand and views it through a more professional lens. “It’s a good way to capture attention, and hopefully a future employer will look at it and say, “We shouldn’t be so hard on these folks. Look at what they’re going through.'”

“There is an information annuity built into blogging. Even if you haven’t updated in a while, it can still be found on Google.”

How Bad Is It?

Before you blow up your blog, figure out if it’s worth resuscitating. If it’s a source of shame, that could be a sign it no longer serves you — but it may just need a remake.

Taylor, a designer at an advertising agency in Indiana, decided to put MakeSeriously.com on hiatus until he was ready to give it more attention. He scratched it from his resume and didn’t talk it up at social functions. “If any employer goes to it, it will be a dead site,” he told us earlier this year. “But it’s a physical portfolio of my work. I think of it as being in transit.”

Since then, he’s re-launched the blog with his wife, trading off duties every few days. Because creating comics is a time suck (an hour and a half to design, color, scan and upload), he’s considering purchasing a tablet to shorten his blogging time from an hour-and-a-half to 15 minutes.

While it’s tempting to hit the delete button if, like Taylor, you haven’t posted in a year, Baer suggests holding your fire. “There is an information annuity built into blogging. Even if you haven’t updated in a while, it can still be found on Google. The objective is to make sure people can find you.”

The seduction of the 140-character ease of Twitter has turned many dedicated bloggers into micro messaging fiends. However, real-time social media is no substitute for an in-depth blog post, and even the pithiest tweet has a half-life of four minutes.

“You can interact with people on a blog,” says Baer, whose posts generate 24 to 40 comments on average, “plus it’s more searchable.”

Streamline Your Tactics

Spending too much time designing and formatting a post could really be what’s killing you and your blog. If you need help with software interface, hire someone. Google “WordPress tech support” and you will find 5 million results. And don’t wait until you have something to say to post; commit to blogging once a week. You can even hire a virtual assistant to set up your blog and upload your posts. If you’re unsure that your blog is resonating with readers, track it. Services like Postrank and Google Analytics provide insight to blog traffic and post effectiveness. This makes you realize you are not alone and that your posts have merit.

Oh, and remember that can-do spirit Gootee expressed earlier? Well, giving an upbeat voice to the unemployed through blogging seems to have helped her own situation. As of press time, she tells us she’s secured a new position.

Keeping your blog afloat is easier than it sounds. If you can cope with the equivalent of living in a messy house that hasn’t been picked up in six months, Baer says the rewards of keeping a dormant site far outweigh the alternative. “Don’t kill it.”

It’s time to commit blogocide if:
1. Your goal is to create community, but no one’s reading or commenting.
2. Your blog is a means to sell a service or create an action, and that hasn’t happened.
3. You haven’t updated it in over a year.
4. It causes more embarrassment than pride.
5. You can’t remember the name of your blog.

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Kathleen Pierce is a Boston-based journalist who blogs intermittently at www.bistrobroad.com.

“The very best place for a new writer to break into magazine writing is in the front-of-the-book section,” says Aliya S. King, an author and award-winning journalist who kicked off her career with a small piece on the death of disco legend Gwen Guthrie for Vibe in 1998. “This is where shorter, timely news stories are covered, and it’s generally where an editor may take a chance on a new writer.”

Hear that, freelancers? You can spend hours fighting other contributors for space in the feature well or gunning for a chance to pen that investigative cover if you’d like, but smart writers know that a 65-word blurb is likely the best shot at a byline.

With fashion spreads chocked full of photo captions, clever bulleted lists and quick news roundups, the front of the book sets a publication’s editorial tone. (Think: GQ‘s “The Manual” or Newsweek‘s “NewsBeast.”) And writing for this important but oft-overlooked section is an art.

Study The Magazine

How exactly do you give readers the information they need while being entertaining and direct? Study the publication or its dotcom as you would an exam. “You have to pay close attention to the voice of the publication as well,” King says. “Study what writers have done in previous issues and use that as a template.”

Every magazine’s voice and audience is different. Henry Goldblatt, Entertainment Weekly deputy managing editor and director of brand development, says he looks for the latest briefs on pop culture for the “News and Notes” section, which covers up to 10 pages in the print edition and is also published online. He also counts the section as the one his editorial assistants often write for before moving up.

“The editors are looking for the basics delivered in a tight, concise style.”

Erin Meanley is associate editor of San Diego Magazine and has worked for several glossies, including Glamour, Ellegirl and Seventeen. “You have to think about the audience. I assign short (articles) because that’s what my readers come to my magazine for,” she says. “If you can handle (reading) long, you’re reading Vanity Fair or The New Yorker.”

‘You have to be persuasive and punchy’

With a limited word count, you don’t have the space to be grandiose. “The editors are looking for the basics delivered in a tight, concise style,” says King. “They don’t want to see you write with a flourish. They need the facts.”

Make your facts interesting or even humorous. Meanley suggests, “Try to be economical with your words and give all the necessary info, adding just enough voice to make it fun to read.”

Above all, Goldblatt says it’s imperative that writers do extensive research on the subject and avoid factual errors. Practice the universal ABC’s of journalism: accuracy, background and context, then “hook them with a strong lede.”

“Sometimes, writing a short story requires even more talent than penning a 2,000-word feature, because you don’t have the luxury of a ‘wind-up,'” he explains. “You have to be persuasive and punchy in a tiny amount of space.”

Do so successfully, and it could lead to juicier assignments at that publication.

“If you can write a great front-of-the-book story, that demonstrates to an editor that you know how to express yourself in a coherent, tight fashion,” Goldblatt says, “and that you’ve been able to wade through your mass of reporting to surface the very best of it.”

Keep Your Word Count Down

Often, front-of-the-book writers have the task of turning what would normally be a 750-word story into just a few paragraphs. Keeping your words to a minimum is often the most difficult part, but doing so proves your ability to follow the editor’s instructions.

King recalls, “The [Vibe] story was assigned to me at a very low word count, maybe 250 words. It was so hard for me to keep the count down. I ended up sending in over twice that amount. Not a good idea.

“For many writers, myself included, writing small is harder than writing a long feature. Luckily, my editor was patient with me, and that obit in 1998 jumped off a career at Vibe that continues to this day.”

“If you can write a great front-of-the-book story, that demonstrates to an editor that you know how to express yourself in a coherent, tight fashion.”

Meanley advises writers to flex their journalistic muscles without getting too cocky. “I think it’s lazy when writers send in 700 words when I asked for 250,” she says, “And it’s self-indulgent when they give me a 600-word blog post when I said no more than 200.”

If you can’t get out all your thoughts in the allotted parameters, you “leave it for the editor to do massive cutting,” she says. And, as any freelancer knows, making an editor happy is part of your job description.

Think Visually

Sometimes a simple paragraph won’t do. With FOB writing, you can often have a little more fun with the creative presentation. An editor might not assign you one page on the five best getaways for bachelors, but she might approve a photo gallery with a few captions on each locale’s dude friendliness.

And, with more pubs churning out daily content for their websites, there’s often opportunity to channel your FOB flair into additional assignments for the magazine’s dot-com ___- or, in the case of Complex, the opposite. The company’s editorial director, Orlando Lima, told mediabistro.com earlier this year that he uses Complex.com as a launch pad for writers before he’ll consider them for the front of the book or anywhere else in the print pub.

“The way we get freelance writers to begin with us is if they can actually do a good [online] list for us — usually a ‘top’ type of list — Top 10s, Top 25s, Top 50s, such as “50 Biggest NFL Playoff Fails,” he says.

Even if your list or charticle idea isn’t a go, an editor will likely appreciate your ability to think outside the simple text box.

Hit The Right Pitch

Once you’ve decided to write for the front of the book, remember to pitch the types of stories the publication will publish.

“Make sure your pitch is irresistible,” Goldblatt says. “Take something in the news and provide a twist.” Some popular front-of-the-book stories from Entertainment Weekly and EW.com range from “Donald Trump for President, Really?” to a story on the vampire craze in Hollywood.

Also, FOB stories are brief for a reason, so don’t suggest a word count when pitching. Your editor knows the amount of space available and can determine if your idea is better as a blurb or a feature.

Writing for the front of the book can be challenging yet rewarding. You’ll have an opportunity to show editors your knowledge of the magazine and likely face less competition from other contributors. So, rather than fight the rite of passage, embrace it. As Goldblatt says, “New writers should expect to begin at the front of the book.”

NEXT >> The Art of the Listicle: Craft a Perfect ‘Top 10’

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Alisha N. Tillery is a freelance writer living and working in Memphis. She maintains a personal blog, Because I Said So.

After moving to New York City to become a writer, Alida Nugent found out things weren’t quite the way they appeared on Sex and the City. In “Carrie Bradshaw Math,” a post written on her blog TheFrenemy.com, Nugent summed up the would-be-life of the fictitious character, pitting her daily diet of designer pumps and fancy dinners against some real-life price points.

Nugent’s post, which was published by Gothamist.com and Refinery29.com, was written out of frustration and confirmed what other writers already knew: Freelancing comes with a price.

“I feel like [Bradshaw’s] lifestyle was sort of insane,” says Nugent. “Maybe other people realized $800 dollar outfits aren’t what happen when you freelance write — because it’s not. Don’t be fooled!”

While freelance writing can be extremely rewarding (making your own hours, the high of that first byline), there are some definite downsides. Here’s what we wish they taught us in J-school. 1. Freelancing is a full-time gig.

If you thought freelancing was easy, think again. When you’re not writing, you’re coming up with new story ideas, maintaining your personal website, tweeting to build a following, or attending industry events to increase your network. Mashaun D. Simon, a former contributor to Black Enterprise and TheGrio.com, admits to his own misconceptions about the business. “It seemed like a lot of fun and freedom and gave me exposure,” he says. “I did not expect it to become as much of a struggle as it has been. Freelancing is a business within itself, and, in order to be successful, one has to be on top of their game.”

Bené Viera, who has written for Juicy and GlobalGrind.com adds, “You really have to treat freelancing like it’s your 8-to-5 job. “You have to wake up in the morning; you have to have pitches; you have to send a ton of pitches to various publications and hope that you get a reply back.”

So, follow up with editors and pursue new leads. Establish your own business hours and don’t take personal calls during the day. You should maintain a constant flow of work, even after pitches are submitted.

“Freelancing is a business within itself, and, in order to be successful, one has to be on top of their game.”

2. You may have to get a “real” job.

That’s right. Until you can sustain yourself on assignments alone, chances are you’ll be doing something other than just writing every day. The media industry is constantly changing, so today’s freelance journos are dabbling in related fields to build skills, as well as supplement income.

“I have recently come to realize that in order for me to be the success I want to be and financially stable as I need to be, my sources of income need to come from diverse places,” says Simon. “So, I am in the process of truly making myself a business.”

Viera, who also takes on editing projects and works as a substitute teacher in New York City Schools, warns writers to beware of the inherent inconsistency in the profession. “You may have five pieces for one month and then go three months without writing one single piece. I think you have to be multi-talented and think outside the box and utilize your skills. It’s what you make it, really.”

3. You still have a boss: your editor.

While freelance writers may not literally punch a clock, their editors still call the shots. Sometimes, a story will require a few rewrites before it’s approved, or maybe you’re working with several editors simultaneously. Successful scribes accept the fact that the end product may not always look how they intended. Freelancing may be a solo gig, but it still entails lots of collaboration.

Janelle Nanos, senior editor for Boston Magazine and writer for Marie Claire and Forbes, knows the tricky relationship between writer and editor all too well. She suggests that writers speak with their editors in advance about the publication’s expectations and be receptive to constructive criticism.

“Sometimes writers really need their hands held if a story is unique to fit the publication,” she explains. “You sort of have to be able to fit the needs of every editor you’re working with and go in with an open mind.”

Sherri Williams, a contributor to Heart & Soul and Ebony, adds that the relationship with an editor is just like one with any supervisor, so first impressions are important. Build a good reputation now, and it could lead to more assignments in the future. “Don’t miss your deadlines,” she warns. “They need to see that they can trust you.”

4. You may be chasing your checks… or not get them at all.

Waiting on a back payment? Welcome to freelancing. Many writers have horror stories of never being compensated, being asked to work without a contract, or even having to take publications to small claims court for their wages.

“You don’t want to get there,” says Nanos. If you’re wondering when you’ll be issued payment, don’t panic and don’t ask your editor either, she advises. “Asking the editor is probably going to seem like you’re a little bit anxious.”

Instead, consult with the business manager who oversees payment or refer to your contract to see what the payment terms are. For example, a magazine may not issue payment until 30-45 days after publication. So, if you’re working on a piece in January for the April issue, you might not see any money until May. However, if a significant amount has passed and you still haven’t received payment, contact your editor.

“Letting an editor know, if you’ve already reached out to the business manager, that you haven’t heard anything is certainly one way to do it because they can light the fire, and make sure that things are moving accordingly,” says Nano.

“I think you have to be multi-talented and think outside the box and utilize your skills. It’s what you make it, really.”

And, no matter what the editor promises you, don’t (read: never) work without a contract. “Everyone’s looking to get that first clip, but make sure that it’s a reputable place, somewhere you feel like you’re going to be paid and respected as a writer,” adds Nano.

5. Pitching will become your life.

Because good pitches result in assignments and income, writers are always thinking ahead for hot topics that fit the publication and its sections. “Learn the publication. Most magazines have different pieces which can recur with every issue,” says Nanos. “The key is knowing what those pieces are and writing your pitch to fit that section of the magazine. Be upfront about it: ‘I read the last few sections, I thought this would sync up well with what you’ve been doing.'”

After a lengthy career in daily newspapers, Williams had to remember to pitch stories that would entice readers months ahead, instead of daily. She suggests studying a magazine’s editorial calendar, usually found in its media kit, to find out what kinds of stories are published throughout the year. “Dig deeper for trends to make the story more current and fresh.”

6. You might need an accountant.

When the money starts rolling in from assignments, it might be best to let a professional tackle those 1099’s. “One of the top reasons to get yourself a quality tax preparer or accountant is their ability to maneuver your deductions,” write Joseph D’Agnese and Denis Kiernan in The Money Book for Freelancers, Part-Timers and the Self-Employed.”

As an independent contractor, expenses for items necessary to perform your job, such as office space, furniture, computers, travel expenses and magazine subscriptions can all be deducted on your tax return.

“TurboTax can only do so much,” says Nanos. Make the investment.

7. You’re not in this alone.

Sorry, Candace and Carrie, but this gig typically involves more stalking of editors than stomping in Louboutins. But, for those brave enough to forge a career as a writer, there are some awesome connections to be made and resources to rely on.

“I wish I had known about Writer’s Market in the beginning,” says Talisha Dunn, writer for Patch-Crofton. “This book helped me discover what my niche was and learn how to expand writing opportunities. It comes out every year and is very expensive, but the advice and resources are priceless.”

There’s also the Freelancers Union for help with late payment issues and sites like Ed2010 that post full- or part-time gigs if you’re looking for something to tide you over between projects. And, after reaching out to Williams for an interview for this piece, I learned that she landed a story in The Source after reading mediabistro.com’s “How to Pitch” section. “I pitched in April, and my story will run in August,” she says.

Make life easier for yourself by accepting the downsides of the profession now and finding ways to overcome them. Stave off deadbeat clients by only working under contractual agreements. Be prepared to spend possibly more time researching new ideas than writing about them. If tax season turns out to be a nightmare, get an accountant to ensure the best return, and, by all means, nurture that relationship with your editor and don’t burn bridges.

Says Simon, “You cannot just sit around and wait for opportunities to come to you.”

NEXT >> Hidden Tax Write-Offs for Freelancers

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Alisha Tillery is a freelance writer living and working in Memphis. She maintains a personal blog, Because I Said So.

A major hurdle for self-published authors is the difficulty of getting reviews in the mainstream media. Few, if any newspapers, magazines or trade publications will review a self-published book without an up-front payment, and even then the finished review is usually banished to a dreary back section of the magazine or sequestered in a cheesy “special supplement” that’s easily overlooked.

But the phenomenal success of the self-published eBook, promoted solely through social media and online communities, has radically changed the definition of a “valuable review,” lessening the power of the traditional gatekeepers. Unknown but talented self-published writers have been selling an extraordinary number of books by simply promoting themselves on Facebook and message boards, where they can introduce and talk up their work to armies of potential readers with no middleman to screen.

While online promotion can certainly lure people to your book’s Amazon page or website, you need to be ready for them. Seeing few or no reviews or endorsements, a potential buyer might understandably hesitate to “proceed to checkout.”

So, which reviews and endorsements actually matter to potential readers? And, more importantly, how can you get them?

Amazon Customer Reviews…

A positive and clearly-written Amazon review is pure cyber-gold. Connie Shelton, Amazon bestselling author of the Charlie Parker mystery series and creator of the “Novel In A Weekend” writing course explains: “Readers might see an editorial review somewhere but will still go to Amazon or Barnes & Noble to see what “real” people are saying about the book. These recommendations carry as much or more weight as an editor’s opinion.”

Shelton’s views are backed up by hard research: In a study conducted in 2010 by RR Bowker of over 60,000 book buyers, the top reason someone buys a book — as opposed to merely becoming aware of it — is a personal recommendation. This same study shows that traditional review sources such as newspapers or magazines have a comparatively low effect on purchases. Readers learn these books exist, but they need more validation before loading up their shopping cart.

Potential readers want to know normal things, like if the book “dragged” in places, “started off slow but got really good in Chapter 3,” was “laugh-out-loud funny” or “totally ripped off a Chris Rock routine.” Rarely will a New York Times reviewer give such clear-cut information as “Skip Chapter Two; it was really depressing, but the rest of the book is hilarious.”

One of the many benefits of Amazon is that once a book starts selling, no distinctions are made between self-published books and those of larger publishing houses when making recommendations based on what other people have bought. Either readers liked (and bought) your book or they didn’t. Customers recommend it, or they don’t. The ability to excite readers is rewarded with or without a publisher.

“A positive and clearly-written Amazon review is pure cyber-gold.”

…and Persuading People to Write Them

Unfortunately, it’s not always easy getting those first reviews. Friends may rave about your book on their Facebook pages, but, when later asked to post an Amazon review, they sometimes need prodding. People are often intimidated when attempting to praise a friend’s book, fearing that one poorly written sentence will reflect badly on the author. This is especially true for more cerebral books where the potential reviewer feels their own writing needs to be at an equivalent level. As a publicist, I’m often asked (i.e. paid) to act as an ambassador between an author and his circle of friends to get online reviews. Even an author’s family can require a little nudging: Recently I had to beg a wife to positively review her own husband’s book.

Authors frequently provide incentives to get the ball rolling, such as swapping reviews with each other or handing out free copies to friends they were originally hoping would pay. One professor pointedly mentioned to all his students at the beginning of term that his self-published book “was open to Amazon reviews” which resulted in an avalanche of glowing five-star postings with the names of the reviewers clearly spelled out.

Sometimes after a little self-promotion, authors simply get lucky. Reports Karen McQuestion, author of six books including the best-selling A Scattered Life:

“I didn’t orchestrate the Amazon reviews; they just suddenly appeared. I attribute many of them to early supporters, readers I didn’t know prior to self-publishing. I was blessed with a very vocal group of enthusiastic readers who took it upon themselves to spread the word. A wonderful woman named Alice was instrumental in jump-starting a lot of the buzz surrounding my books, especially A Scattered Life. Alice loved it, talked it up on the forum. I mean, she really talked it up. Soon others read it and reported back that they’d enjoyed the novel as well. I would turn on my computer in the morning and read whole conversations about my book, the one no publisher had been interested in acquiring.”

How to Get Endorsements from “Influential” People

Blurbs, quotes and blog mentions by “cultural influencers” can definitely lead to sales, depending how their endorsement later gets promoted. One approving tweet by a celebrity can have more effect on sales than an acre-size review in a major newspaper. And these blurbs can be endless recycled on your book cover, author website, Facebook wall and gravestone until the end of time. As Connie Shelton reminds us “Once you have a great review, it is yours for life.”

Obviously, the most influential people in pop culture are the ones most inundated with requests, so unless you already have a relationship with a celebrity or their inner circle, the likelihood of getting a blurb isn__?t great. That doesn’t mean you shouldn’t try, but it can get very time consuming, so always create a “B” list. These B-listers are once- influential people who haven__?t done anything lately, but whose works are still well known… Because they no longer get requests on a regular basis, they might be looking for a little exposure themselves. Or, their occupations aren’t particularly literary, so they may enjoy the novelty of plugging a book. Possibilities include singers, musicians, chefs, broadcasters (minor and former), politicians, athletes, movie producers, screenwriters, former magazine news editors (who left under good terms) and newspaper reporters in foreign bureaus.

I recently worked with a self-published author who had written a novel about a little-reported event in Southeast Asia. His writing was exquisite and worthy of a review, but he had absolutely zero media connections. I researched the topic of his novel on Amazon and noticed that three non-fiction books on this subject were still selling. Better yet, one author had received the Pulitzer Prize in the 1980s, the second book was written by the head of a major foreign news bureau, and the third had been turned into an Oscar-nominated screenplay.

I knew that endorsements from a “Pulitzer Prize winner,” “New York Times reporter” and “Academy Award nominee” would certainly brighten up his Amazon page and could be milked on a variety of websites and social media platforms. I tracked them down, made a pitch and all three graciously agreed to look at the book. The author and I immediately bought all three books and composed three flattering letters with copious references to each, implying — without actually saying — that they were the inspiration for my client’s novel.

“One professor pointedly mentioned to all his students at the beginning of term that his self-published book “was open to Amazon reviews” which resulted in an avalanche of glowing five-star postings with the names of the reviewers clearly spelled out.”

Should You Ever Pay for a Trade Review?

As mentioned above, it is possible for the self-published author to “purchase” a detailed and well-written review or a mention from major trade magazines, such as Publisher’s Weekly, Kirkus or Foreward. Kirkus and Foreward now offer guaranteed reviews for self-published authors for $300-600 and PW Select offers a short listing in its quarterly insert, making the book eligible for a possible review later on.

Determining whether it’s worth the money depends on your overall goals for your work. “Will that review ever be seen by my readers?” asks Connie Shelton. “Kirkus is mainly read by publishing industry insiders, so if you want a large publishing house to notice your indie-published book, this could work for you. Foreword is mainly distributed to librarians and booksellers. If your book is printed in hardcover and is likely to be of interest to the library markets, this may be a good choice for you. If your sales channels are likely to consist of online eBook sales directly to readers through Amazon or Smashwords, these print publications are probably not going to have much effect on your sales. Weigh the costs with the potential in sales before you make that decision.”

As far as “buying” Amazon reviews, there are services such as Book Rooster, that allow an author to purchase reviews in exchange for giving reviewers a free Kindle book and paying a nominal fee. Reviewers can say whatever they want about the book, as long as they don__?t give away major plot points. The one downside reported by authors is that reviewers are required to acknowledge they had received a free book, resulting in the majority of the reviews starting off with the identical line “I am writing this review in exchange for a complimentary book…” which can understandably dampen the effect.

NEXT >> Author Alliances: Pool Your Book Marketing Efforts

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Susan Self is a public relations professional living in Los Angeles.

Most job seekers know the drill by now: You see the job you want on a website, hit the APPLY button and what often happens next? You’re face to face with a complex corporate recruitment engine that seemingly asks for everything from your complete academic transcript to every job you had since you threw newspapers for a living.

Are such recruitment engines on the career sites of MTV Networks, Time Inc., NBC Universal, AOL and other major media brands really worth the time and effort? If so, how can you best make them work for you?

The 411 on Recruiting Engines

First, what are these engines and why do HR departments use them? Often called applicant tracking systems (ATS) or recruitment management systems (RMS), these products are sold to corporations to streamline their recruiting administration. Three of the biggest “powered by” players in the online recruiting world are Kenexa’s BrassRing (notable clients: NBC Universal, AOL, CBS), Taleo (MTV, Conde Nast) and Jobvite.com (The Daily Beast, Twitter and MSNBC).

For the job seeker, obvious benefits of using recruitment engines include getting the very latest information on open positions, creating personalized profiles and search agents that send job alerts to your email inbox, and being able to filter your searches to specify geography, skill set, department and other factors.

To recruiters, the engines simply make their jobs easier. These tools help HR departments maintain rich career websites, post vacancies on their own site and others, build searchable applicant databases, and enable easy tracking of open positions.

Keywords are Key

But what makes a recruiter’s job easier may also get in the way of a job seeker’s goals.

Tom Armour, co-founder of High Return Selection, which helps businesses with their recruitment needs, explains, “Because these systems are automated and designed to simplify the workload for recruiters who have thousands of applicants, they tend to make it more difficult for an applicant to demonstrate their merits and reach a real person in the company that uses these tools.”

To those folks, Armour says using the right keywords is vital. “If you’re applying to a corporate system such as Taleo or Kenexa, understand that your resume will be placed into a database and the recruiter will search that database for key terms,” he says. “Therefore, read the ad carefully and make sure your resume contains those key terms precisely as the company placed in their job advertisement.”

Blank Fields May Get Blank Looks

“If you see fields during the online application process, it’s always in your best interest to fill them out,” says HR technology consultant Tiffani Murray. “Some ATS/RMS allow for recruiters to search certain fields for the information you’ve provided. If you leave a section like ‘computer skills’ blank or don’t select the relevant options from the drop down menu of choices, you won’t show up in a search of that field.”

Anne Murguia, vice president at Jobvite, says if you want to take the quickest route, look specifically for those fields which are explicitly required. “If the basic information is on the resume, you probably don’t need to re-enter it,” she says. “But if a company asks specific questions pertaining to the skills or experience required for that job, you’d be wise to answer.”

Murray agrees. “If the option is presented, filling in only the mandatory fields and attaching your resume should be sufficient,” she says, but cautions: “If you are not clear and you see fields for skills or the ATS/RMS has questions that allow for multiple selections or checking off responses, go ahead and complete these sections. It really won’t take you long and covers all the bases if for some reason the data in those fields can be searched separately from the data in your resume.”

Murray also counsels applicants to be careful with every answer. “Keep in mind that if the first question says, ‘Do you have four years of experience?’ and you answer no, you may be sorted out of consideration automatically.”

But all is not lost even if you get filtered out. “If the recruiter decides or is informed by the hiring manager that they can be more flexible in a certain area, for instance the years of experience, the recruiter can always go back and look at all people who applied,” says Murray.

Be Specific…

Tailoring your resume for a recruitment site means not just including relevant details, but also excluding extraneous ones. “Applicant tracking systems score resumes based on how relevant they are to individual job openings. Your score may be jeopardized if you list a smorgasbord of skills,” says Mona Abdel-Halim, director of sales and marketing for resume building service Resunate.com. “Keep your content focused, so it’s easily recalled by both machine and human eyes.”

Lindsay Stanton, chief client officer for Job Search Television Network, which creates recruitment engines for Fortune 500 clients, counsels job seekers to include as much specific, relevant information as possible. “In general, the more comprehensive the information space allows for, the better,” she says. “You never know what may be a key trigger point for the recruiter reviewing your application… this is particularly important for someone seeking a more senior role or with certifications.”

Stanton also cautions against aiming for jobs outside your qualifications. “Do not apply for positions you do not have the skill set or history to qualify for… You do not want to be blacklisted for over-applying.”

…But Not Too Specific

“Avoid common mistakes like being too specific about past salary, which could get you screened out,” says Robert Hellmann, NYU adjunct professor and president of Hellmann Career Consulting. “And don’t list references; you don’t want them bothered unless they are serious about you, in which case you want to prep your references for the call.”

Don’t Blow Your Cover

The value of a cover letter in a conventional job application is a point of contention, but cover letters have much more influence and exposure within a tracking application. “A cover letter is likely the first document the recruiter will see in your profile in the ATS,” Murray explains. “Make sure that the cover letter is just as strong as your resume and that it compliments the information in the resume.”

Murguia agrees that the cover letter in a tracking system is important. “It indicates that the job seeker isn’t applying en masse, but is truly interested in the opportunity at this particular company,” she says. “Take the time to reference why you’re interested in the company and why you’d be good at the job.”

Murray recommends keeping various versions of your cover letters in a file on your personal hard drive so you can cut and paste content instead of starting each application from scratch. Just don’t forget to customize those letters for each particular employer.

Get the Lowdown Before You Upload

Career sites are not just places to hand over your information; it’s also useful for getting their information. Susan Amori, director of talent acquisition operations at AOL, points out that a corporate career site can reveal important details about a position that may not be found elsewhere.

“Company job sites can be helpful for exploring current openings and getting details around a particular role,” she says. “Resumes should be customized for a particular role, so that you align your experience with the position as closely as possible. If you look at the top two to three key responsibilities listed for the role and highlight how your experience aligns in the top two to three bullets on your resume, you’ll have a better shot of getting that first screening call.”

Amori also recommends using a company’s career site to get a better sense of its corporate culture and connecting it to your own interests. “At AOL, one of our values is around helping others, whether that be helping our consumers or making an impact in our communities. If a candidate can weave in examples of how they’ve demonstrated helping others in their resume, that can be a differentiator when comparing candidates.”

(Microsoft) Word to the Wise

Murray recommends job applicants keep a version of their resumes in a simple Word format. “Tables, charts or other graphics may hinder the ATS’ ability to properly read your resume and store the data,” she says. “Similarly, though many applicants save their resumes as PDFs, it’s better to submit a Microsoft Word document to avoid any issues with the acceptance of the document.”

Now armed with all this advice and insight, are you ready to start your recruitment system safari? We’ve done some of the hunting for you. Here are shortcuts to a few of the most popular media career sites:

NBC Universal (iVillage, BRAVO, SyFy, USA Networks, MSNBC)
Disney/ABC
Time Warner (Time Inc., HBO, Turner, Warner Bros.)
CBS
AOL Huffington Post Media Group

Like the book (and the movie and the Sex & The City episode that inspired both) said, don’t you wish you could tell a bad client, “I’m just not that into you”? Yet, most freelancers know that it’s never that simple.

As a self-employed professional, you have to consider the ramifications of breaking up with any customer: lost money and assignments, or worse, burned bridges that lead to lost money and assignments elsewhere. The media world is small, and who knows if the editor you can’t stand today becomes the top dog at your dream publication tomorrow? However, there are some situations where it pays to part ways. In fact, a split could be exactly what you need to advance your career.

Here are a few signs that it is time to dump a client and tips to ensure your career doesn’t go down in flames with the relationship.

1. It takes forever to get your dough — or they’re not paying at all.

This is probably the most obvious sign that a business relationship is going down the tubes. But before you cut ties with a deadbeat client permanently, do everything you can to get the money you’re owed. Inquire about late payments after a reasonable amount of time — and don’t just rely on email. Follow up with the publication’s accounting representative and keep track of all correspondences. If they’re still not paying up after several verbal and written notices, it’s time to call in a collections agent or pursue small claims court. Not only does the action show them you mean business, but it frees you from worrying about the matter.

“No one should need to work as hard and long as they did on a client project in attempting to get paid,” says Oregon designer Jeff Fisher of Jeff Fisher LogoMotives.

To avoid landing in this predicament in the first place, put a clause in your contract that states you can charge interest on a late payment (after 90 days, for example). That’s even more of an incentive for a client to cut the check on time.

Try This: Wait until the current project wraps up (and you’ve been paid), and then see if the client contacts you again. Sometimes you can avoid an uncomfortable conversation if they choose to dump you first. If they do ask you to do more work, be simple but firm: “I appreciate the offer, but cannot take on your project at this time.”

“To avoid landing in this predicament in the first place, put a clause in your contract that states you can charge interest on a late payment. That’s even more of an incentive for a client to cut the check on time.”

2. The client doesn’t respect you.

Other than being outright mean or rude, there are other behaviors that show a client doesn’t think highly of you. Maybe your editor is consistently late to meetings, never returns your phone calls, or doesn’t provide feedback in a timely or constructive manner. Who wants to work with someone like that?

For Fisher, those are all deal-breakers. “To me, it conveys that the client thinks their own time is more valuable or important than that of the person they have hired to do their work,” he says.

Von Glitschka, an illustrator in Oregon, says it is important to convey information upfront so the client doesn’t get the opportunity to disregard you. He has encountered clients that try to rush him with deadlines or stall out mid-project. “The whole equation of ‘good, fast and cheap’ is true. Pick any two. They want good and fast; then it won’t be cheap. They want it fast and cheap; then it won’t be good.”

Try this: “In order to get this project to you on time, I need to have the contract signed and a deposit due by Friday, and your first round of revisions back within seven days.” And, of course, make sure you meet all your deadlines and meetings, as well.

3. Your skill level is above the work.

Bored with your assignments? That’s another reason to say goodbye.

In the mid-90s, Fisher performed some design work for a law firm. Over a few years, he executed a complete identity design and overhaul that included updating the format of the company’s newsletter. After that, his only responsibility was to produce the quarterly newsletter. Fisher knew he could do that task in his sleep and wanted to move on to more challenging work, so it was time to split. Thankfully, the relationship ended well, and ironically enough, he was rehired last year to revamp the branding platform once again.

If this is your situation, first think about the work you want to do. Then, snag a new client in that arena before you give the older one the heave ho. You may not have to do this if you’re doing well financially, but it’s always a good idea to have a job before you quit one, particularly in times like these when many media companies are slashing freelance budgets.

Try this: “I approached the client and politely resigned the account, letting them know I had greatly enjoyed working with them, but felt my talents (and their marketing/promotion budget) could be better served in doing work in which I was more passionate,” said Fisher.

“If you’re trying to hang on to your ‘oldest client’ simply to prove that you’re good at what you do, think again.”

4. You’re only staying out of loyalty.

Just like we outgrow personal relationships, we do the same with business partnerships. Moving on can be hardest when there’s no better opportunity afoot, so we tend to stay put. This type of relationship may not be bad; it just doesn’t put you in a position to advance your career — a perfectly good reason for breaking ties.

Ilise Benun, founder of the Marketing Mentor business coaching program for creative professionals and author of The Art of Self Promotion, says it’s important to remember that your first client may not necessarily be your best.

“I think this is very tricky for people because they think the clients they start with, they__?re going to die with,” she explains. Benun says that’s while many freelancers learn the most from those first clients, their skills, rates and tolerances change as they go. So, if you’re trying to hang on to your “oldest client” simply to prove that you’re good at what you do, think again. Instead, try to build some new relationships with editors, or develop a monthly newsletter to show off your logo-making chops. Benun says that not having adequate marketing in place is what keeps many freelancers stuck.

Try this: Keep it brief. Benun recommends saying that you can’t take on additional projects, because your business is going in a different direction or you are not the best person to meet their current needs. “You know, the proverbial ‘It’s not me, it’s you,'” she jokes.

More Tips for Dumping a Client

You don’t have to be rude or arrogant when breaking up. It pays to keep things professional, because you never know where a contact may come in handy. Plus, there’s no better way to bring in new business than having a testimonial from a satisfied customer.

If you must move one, choose an appropriate format or setting to break the bad news. Whether you do that by email, phone or in person really depends on your relationship. I communicate with many of my customers only via email, so I usually opt to send a short message or have a quick phone call. Be honest, not mean.

“In most situations, blatant honesty is usually the best policy,” Fisher says. “My ‘I need to focus my creative energies on a different type of project,’ explanation is often a very true and valid sentiment to be shared___but can also work as a little white lie in cases where an escape for one’s own mental health is necessary.”

The beauty of freelancing is you can choose the projects you take on. So, if it’s time to separate from a company in pursuit of something more fulfilling or better paying, it’s okay. You’re in the position to do so.

NEXT >> How Freelancers Can Avoid Not Getting Paid

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Kristen Fischer is a copywriter based in New Jersey. Find out more at www.kristenfischer.com.

Like many editors, Mike Sante has seen an uptick in the number of queries and story pitches landing in his inbox during the past six months. There’s no mystery to the trend: with all of the recent layoffs at newspapers, magazines, and other media outlets, the pool of freelancers is growing larger by the day.

Size up the competition

The managing editor of Interest.com says the trend has changed the way he’s assigning stories. In the past, he might have considered hiring an experienced longtime freelancer without a lot of personal finance writing experience if he felt they had potential. The current market has changed all that: Sante now has his pick of top-notch, recently laid-off personal finance writers with years of experience from big-name publications like The Wall Street Journal.

For the generalist or someone without a lot of personal finance writing experience, it’s tougher to land an assignment with Sante and Interest.com these days. Sante suspects the same is true at other publications, as well. It appears there is more competition for career freelancers, Sante says. But that doesn’t necessarily mean that editors are leaving behind longtime freelancers in favor of new blood. And there’s no guarantee that newly laid-off writers and editors will experience long-term success as full-time freelancers. “Just because they’re talented doesn’t mean that they’re going to be able to make a go of it,” he says.

Successful freelancers have to have a mind for business, and not all writers have the desire or ability to do what it takes.

Alison Stein Wellner, a full-time freelance travel writer and instructor for The Renegade Writer, agrees. Freelancing is an entirely different game than working as a full-time staff person, and the newly minted freelancer is just not going to have the same skill set as the more experienced full-time freelancer, says Wellner, who has freelanced full time since 1995. There’s a lot more to being a successful freelancer than simply being able to write well. Successful freelancers have to have a mind for business, and not all writers have the desire or ability to do what it takes. For the existing full-time freelancers who are worrying about increased competition, Wellner has some advice: Stop. “I think that the threat from the newly laid-off is probably exaggerated,” she says. “Worrying about the competition doesn’t make a lot of sense, anyway. You need to focus on your own game, because this is not really a lottery.”

Competition from newly laid-off staffers is not much of concern to some longtime freelancers like Robert McGarvey. “Being a freelancer is a very different thing from having a staff job,” says McGarvey, who has freelanced for more than 30 years. “And most staff editors aren’t really equipped to be freelancers.”

Evaluate additional economic factors

The bigger threat to longtime freelancers are things that are happening as a result of the downturn, according to McGarvey. “The editorial hole is shrinking because advertising is down,” he says. Some publications are not taking submissions from freelancers at the moment. With fewer pages, there’s less work for full-time staffers to do. In an effort to avoid layoffs, some publications are having staff writers and editors generate content that normally would be assigned to freelancers. “That’s the competition,” says McGarvey.

Like McGarvey, Fred Minnick also does not see newly laid-off staffers as the biggest threat. The full-time freelancer from Louisville, Kentucky, said while business is still good, he’s feeling the economic pinch in other ways. Minnick, who has freelanced full time for the past two and a half years, said he’s noticed that some publications now are reducing per-word rates. Where he might have received a 1,400-word assignment from a publication in the past, he’s now receiving 600-word assignments. In some cases, the frequency of assignments also has tapered off.

Others, like Craig Guillot, have hardly noticed a downturn. In fact, the New Orleans-based freelance writer and photographer says 2008 was his best year yet since he started freelancing full time three and a half years ago. “The work has been flowing in all year,” he says. While Guillot did lose some newspaper work this year, it was low-paying anyway and had no significant impact on his finances. Like many experienced full-time freelancers, Guillot is really not that concerned about competition from recently laid-off staffers. Longtime editorial contacts getting laid off and publications shutting down are more of a worry. “That concerns me a lot more than the competition,” he says.

Regardless of whether freelancers are experiencing increased competition right now, there are several things that freelancers can do to remain competitive and weather the economic storm ahead.

Ten tips for staying competitive in a down economy:

1. Increase your marketing efforts. Getting assignments is really a numbers game, so in tough economic times like these, you have to increase your marketing efforts, Wellner says. If you normally send out five queries or letters of introduction, send out 10. “Sales is a matter of the number of doors you knock on.” Accept the fact that it may take longer to land assignments now, she says. “Your mileage may vary.” Now is the time to step up other marketing efforts too, Minnick says. If you don’t have a Web site, get one. “It’s getting your name out there” that will make the difference right now, he says.

2. Play up your strengths. If you have a specialty or a niche, now is the time to play that up. Know that with increased competition, it might be more difficult to get your foot in the door if you’ve never written for a particular publication or penned articles about a certain topic area before, Sante says. Look for clients and publications that need your area of expertise and target those. Don’t forget to emphasize other strengths like reliability, Guillot says. Selling yourself in the right way — beyond your writing skills and experience — can sometimes convince an editor to take a chance on you.

3. Pay attention to the market. Remember that what brought you money in the past, may not earn you a dime now, McGarvey says. “If you’re trying to place that story on the million-dollar honeymoon, you’re in the wrong place and wrong time.” Frugality, on the other hand, is “in” right now. “So you have to be alert to what the marketplace wants and what your skills are,” he says.

4. Diversify. Even in the best of times, magazines and publications go under, Wellner says. Don’t fall into the trap of accepting too much work from a small number of clients. Diversify as much as you can — especially right now. For McGarvey, the need to diversify is underscored by an experience he had during the last downturn in 2001, when he was stiffed $3,000 after a publication he was writing for went out of business.

5. Watch your attitude. You can’t control the economic climate, but you can control your attitude and what you’re focusing on, Wellner says. “Writing is psychological,” she says, and constant exposure to negativity can zap your productivity. “So it’s really important to guard your attitude.” Editors and clients want to work with people who are positive and upbeat. “And part of being competitive is being enthusiastic.” The enthusiasm will shine through in your queries and story pitches, so keeping a positive attitude can ultimately make a difference in your bottom line.

6. Learn new skills. Everyone will emerge from the downturn, but it’s up to each individual to decide how they want to come out of it, Wellner says. Why not use any downtime you have to brush up on your skills or learn something new? Think beyond writer’s workshops — what skills or areas of knowledge are going to make you more marketable? For example, Guillot just purchased a new camcorder and video equipment. While he’s not aggressively marketing his multimedia skills yet, he expects that more freelancers soon will be expected to know how to use this technology. While the video is more of a hobby now, Guillot expects that he increasingly will use these skills in new ways.

7. Nurture existing relationships. Don’t take your existing work or your current clients for granted, Minnick says. “Try to extend some service to your existing clients.” For example, instead of simply writing stories, offer to gather photos. Nurturing your business relationships is always important, but it’s especially important right now. “Your best customers are your existing customers,” he says. McGarvey can vouch for that fact — all of his work is from old and existing customers right now. Make the rounds among your old customers and ask if they need any help right now, he says.

8. Stash the cash. In tough times, it sometimes takes clients longer to pay, Guillot says. Be sure to keep a large cushion of cash on hand for the lean times. Even though he’s had a great year, there can be times when he goes six weeks without seeing a check land in his mailbox. Save as much as you can, he says, and live well within your means.

9. Face reality. “This is the worst [economic climate] I’ve ever seen in the years that I’ve been freelancing,” Wellner says. But focusing on that and all of the implications that go along with it can be detrimental to your productivity and your business. It’s important to focus on the positive, but it’s also important to be realistic. Make sure the publications you’re working for are financially solvent, because some will go out of business — just as they did during the last recession in 2001, McGarvey says. “I do think that times are going to get much, much worse for freelancers. And I fully expect the number of freelancers to shrink in the next six months.” The same thing happened in 2001, he says. But many freelancers weathered the storm and are still in business.

10. Hang tight. If you’re in this business for the long haul, it’s important to stay alert to changes and keep your mind open to new possibilities and opportunities, McGarvey says. “You’ve got to be nimble. Stay alert to what the next act is.” Be honest with yourself about the freelance life because more than likely, it’s going to be a rough road ahead — it’s just the beginning of the recession. “Things aren’t going to get better soon. It’s going to get worse before it gets better,” he says. “You’ve gotta really like this work right now. If you don’t, you should be doing something else.”

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Jenny Cromie is a Michigan-based HR/business freelance writer and editor, and editor of The Golden Pencil, a b5media.com blog about freelance writing and how to build a successful freelance writing business.