Collaboration: A Secret to Building a Successful Freelance Business

by Sandra Reimer

In June 2004, I was downsized from a job I loved as a Community Relations Coordinator for a non-profit organization. By August, I recovered from the shock of losing my job after a decade and began freelancing as a writer and editor. Like many new freelancers, I tried different types of projects to discover what I loved to do that produced great results and clients would pay me for. 

I continued writing for my former employer, and the executive director referred me to an industrial company that needed an employee newsletter. Another friend referred me to write a newsletter for a charity. I also transferred my public relations and professional writing skills into a new industry and represented authors as a publicist for a while. 

In that first year, my freelance earnings matched my previous part-time employment income—plus, I had the flexibility to be with my two young children, who were 4 and 8 at the time. Maybe freelancing wasn’t so bad. 

Balancing Freelance Responsibilities

But the last 16 years of freelancing has not all been chocolate and whip cream. I know the stress of being a small business owner. Constantly, you must balance doing the work, managing your business, and finding clients. Most freelancers love to share their creative skills with the world but finding enough clients to earn a sustainable income can be challenging. 

To find clients, freelance creators and communicators assemble a portfolio, put up a website, polish their LinkedIn profile and get active on social media—hoping people will find them. However, on the internet, they blend in with others who offer similar services at similar prices. Unless these freelancers find a way to stand out, sales trickle in at best. 

Faced with this situation, many freelancers turn to platforms such as Upwork, Fiverr, and Indeed where clients post projects and freelancers bid against each other to secure work. Clients often award projects to the lowest bidders or the top talent with the highest ratings. Apparently, only 10% of freelancers find work on these platforms. Plus, the platforms take up to 20% of your pay, and you don’t own the relationship with the client—they do. 

Another Way to Build a Successful Freelance Business

Early in my freelance career, I stumbled on another way to build a successful freelance business—collaborating with professionals with complementary skills. 

In the beginning, I tried doing the layout for the newsletters and annual reports I wrote. The results were mediocre at best. I understand design principles, but I was working outside my strengths. Then while producing an industrial company’s employee newsletter, I met an excellent graphic designer. Soon, I began collaborating with Audra on most of my print communication. The results were outstanding as I focused on my strength—compelling writing and she on hers—beautiful design. It was easier to get repeat business when my results were more professional. Plus, I could sell higher-value projects because I provided clients with complete solutions—not just writing and editing services. 

Over the years, I have collaborated with other specialists, including my husband, a front-end web designer. Together we secured higher-value projects, such as websites worth thousands of dollars. I did the marketing strategy and wrote the content, and he developed beautiful and user-friendly websites. I continued to work with Audra on print projects. As we combined our skills, clients benefitted from professional results and complete solutions.  

My husband and I earned a satisfying income that paid our mortgage and our two children’s needs, with enough to spare for vacations and other wants. After five years, my husband went back to a corporate job while I continued working with freelance specialists on communication projects. 

Then about three years ago, I began to wonder if I could help other freelance marketing and communication professionals multiply their impact and income through collaboration. To test this theory, I am running an experiment. I launched an online community to help Canadian freelance communicators and creators trade referrals, co-promote our work, and collaborate on higher-value projects while learning together and having fun.

Editors’ note: Many of our readers may benefit from a group like this. If you’re interested in CoLaborNation, click here

Sandra Reimer is a communication strategist who helps world-changing businesses and non-profits tell their stories. She collaborates with other freelance professionals to produce compelling print and digital communication that sells clients’ products and services. Her fundraising letters and proposals have helped non-profit clients raise millions of dollars to fuel their missions. Prior to freelancing, Sandra was a Community Relations and Volunteer Coordinator for a non-profit. As a social entrepreneur, Sandra cares about the earth, earthlings, and earning.

Are You Ever Really Finished?

A good book has no ending.

– Robert Frost

There is no real ending. It’s just the place where you stop the story.

– Frank Herbert

A classic is a book that has never finished saying what it has to say.

– Italo Calvino

Art is never finished, only abandoned.

– Leonardo da Vinci

How do you know when it’s time to let go of your manuscript or project? Do you feel pressured to tie things up or are you able to trust the conclusion to your audience? Please share your thoughts below.

Fearless Writing

by Stephen R. Clark

A friend from church recently shared a meme bearing a quote from Salman Rushdie: “A poet’s work is to name the unnamable, to point at frauds, to take sides, start arguments, shape the world, and stop it going to sleep.”

My friend said, “This is you!”

I took it as a compliment, but also as a bit of a challenge. A challenge I confront regularly as a Christian writer.

Several months ago, one of my grandnieces, Ellian Chalfant—an exceptional writer and a student at Gordon College—blogged about last summer’s racial unrest, explaining, “I’ve struggled to find the words to say. I know that as a writer, Christian, and human being I’m called to speak up for my brothers and sisters facing heartbreaking injustices in this country.”

Her bold acknowledgement that, as a Christian writer and fellow human being, she is “called to speak up” kind of smacked me upside of my face.

And then the meme my friend shared got the other cheek.

Why?

Because sometimes writing can be a source of fear and trembling for the writer. Especially when it comes to potentially explosive topics like racial injustice, social ills, sin in general, and so on.

The challenge is related to the caution in Proverbs 29:25—“Fearing people is a dangerous trap” (NLT).

While I get encouragement from readers, I also get pushback. Sometimes the pushback is a little harsh, and sometimes it comes from surprising sources. So, negative reaction is one part of the “fearing people” thing.

Another is sourced in my own heart, the fear generated from the man I am as shaped by a multitude of forces over time. I fear being wrong, making a mistake, looking stupid.

Nearly every time I metaphorically pick up my pen, I wrestle with the thought, “Who am I to write about this? What do I know? There are many others far more qualified than me!”

Writing is a process of exposure. When a writer writes he lays open his heart, reveals what he really thinks about something, and becomes very vulnerable.

And yet, as writers knowing this, we are still compelled to write.

Let me qualify that a bit more. As Christian writers, fellow sojourners on this earth, gifted by the Holy Spirit with a different way of seeing and the skill to share that insight, we are still compelled to write.

I put the question of fear to a group of fellow Christian freelancers. One, Ann-Margret Hovsepian, offered this guidance: “What helps me a lot is the conviction that my job is to serve my readers and not necessarily to please them. If I’m being faithful and obedient to God in using my talents for his glory and pleasure, how readers respond to my writing is none of my business. That doesn’t mean I don’t care what they think, but I cannot worry about it.”

Good answer. Although I assure you, I can worry and do care! Even though I probably shouldn’t. At least not a lot, anyway.

Right around when I posted the question, I participated in a webinar by author Alan Noble on what Christian writing should be. He offered these three principles: (1) God calls us to desire the good of our reader; (2) The Truth exists, and it is beautiful and good and worth fighting for; (3) Hope.

It was startling how closely what he said tracked with what both Ellian and Ann-Margret shared. Perhaps God was trying to tell me something.

For writers like me, the “dangerous trap” of Proverbs 29:25 is to fear writing, to freeze up, to hold back. Yet that verse concludes, “. . . trusting the Lord means safety.”

Jesus was a great instigator of strong reactions. It even got him killed. Yet, we are called to be like Jesus, to bear the image of God, to be a voice in the wilderness. For better or for worse.

I would argue that, most of the time, what we write leads to the better.

Randy Petersen, reflecting on the same unrest as Ellian, wrote this in a blog post:

“We writers will not change the world, except when we do. We can carry on the work we’ve always done—nudging hearts, shining the light on truth, suggesting redemptive scenarios people might not have imagined yet. We’re just wordsmiths, and yet language might be the lever that budges the planet into a different orbit.”

Alan Noble concluded his webinar with this summary: “If your work is truly for the good of your readers, have no shame in sharing it. You are not your writing. Expression is not the point. Your reputation and image are not the point. The good of your reader is the point.”

And then he tacked on this gem from T. S. Eliot, “Take no thought of the harvest, but only of proper sowing.”

So, here we are, Christians and writers. God has called us to write to his glory. To care for the good of the reader. When we write what the Holy Spirit lays on our hearts and minds, it is up to the Holy Spirit to impact the reader. It’s our job to share truth, the whole truth, and nothing but the truth. To hone this gift and ensure that what we write is indeed “proper sowing.”

In his book, Scary Close, Donald Miller shared that when he was becoming too careful as a writer, he developed this manifesto:

  • I am willing to sound dumb.
  • I am willing to be wrong.
  • I am willing to be passionate about something that isn’t perceived as cool.
  • I am willing to express a theory.
  • I am willing to admit I’m afraid.
  • I’m willing to contradict something I’ve said before.
  • I’m willing to have a knee-jerk reaction, even a wrong one.
  • I’m willing to apologize.
  • I’m perfectly willing to be perfectly human.

These are wise words to live by, to write by. Besides, as Aristotle is alleged to have warned, “There is only one way to avoid criticism: do nothing, say nothing, and be nothing.”

As Christian writers, saying nothing just isn’t an option. As we write, we can do so in the certainty that, as Ann-Margret pointed out, if we are being faithful and obedient to God in using our talents for His glory and pleasure, then, as Proverbs promises, we are safe.

To paraphrase Paul, let us write on toward the goal of serving our readers to win the prize of God’s heavenly calling in Christ Jesus (Philippians 3:14).

Ignore This Advice

Ignore all lists of writing tips. Including this one. And including this tip. Or at least take them with a big pinch of salt. I have never met two writers who work exactly the same way: One of the hardest, but ultimately most rewarding, things about writing is that you have to work out for yourself who and what you are as a writer, and how you yourself work best. When you’re starting out, it’s very easy to see a piece of advice by [insert your favourite author here] and think, If s/he writes like this, I must do it that way too. That can be unhelpful, and instead I think that every time you hear a writing tip, you have to decide whether it means something to you, resonates with you, or whether it sounds like the stupidest thing you’ve ever heard. It’s your book, you need to learn to write it your way. Now please ignore this advice.

Marcus Sedgwick, at the 2016 Cheltenham Literature Festival

That Story

by Chris Maxwell

We love writing stories people remember. 

A scene of the ocean as waves rush ashore in rhythm. A view of winter with snow covering the streets and a fireplace warming a family. A glance at a grin from bride and groom while they declare vows. 

What an honor to write those stories, to take people places through paper and screens, to guide eyes and minds into an encounter. Information and statistics help prove our cases. Quotes from trusted sources justify our arguments. But stories stick. They illustrate application. They offer an experience, an invitation, an opportunity.

Stories can shock us as the sad stat sheet turns into an example of a family grieving at the funeral home. Stories can motivate us to pursue more information about ways to rescue people who can’t find a method to pay for medication. Stories can lure us toward laughter as the grandparents tell stories of pictures in a photo album to their grandchildren at Christmas. 

In our tribe of Christian writers, we often create stories which we hope will offer encouragement. Even as we honestly reveal the conflict of our narratives, our beliefs bring a breath of reassurance.

We must be cautious, however, not to rush too quickly to the redemptive conclusion. The pain along the way has value. The greatest story ever told isn’t just about a resurrection. Crucifixion comes first. Blood is shed. Breathing stops. A crying Savior mumbles His meditative prayer from what, for us, is Psalm 22: “My God, my God, why have you forsaken me?”

Before Resurrection Sunday comes Good Friday. And Jesus wants us to remember that story. 

He had gathered with His followers the previous week. They, as they often did and as we often do, ate together. He served bread and wine, declaring to them a tradition to begin, a story to tell, an encounter to experience. “Do this,” He said, “and remember me.”

Before we hurry to another submission or another assignment, let us hear Him. Let us listen as He says, “This is My body.” Let us pay attention to the ancient dialogue as He says, “This is my blood.”

Imagine us in the story and at the table. Not given instructions from our Teacher about better writing or proper grammar or future goals. But given bread to taste and wine to drink. Given words to receive rather than submit. Given nourishment for ourselves before hurrying it to another editor on our list of potential clients. 

Today, choose to be the client. The one loved. The one in the story. Dwell on the week, on the Thursday dinner, on a Friday we call Good, on a Saturday so silent. Stay there a while in that story. Stay there a while and be in the story. 

Slowly, very slowly, work your way to the Resurrection. Remind yourself, “He is risen.” Repeat and you reflect on your own life as someone loved by Him not matter how must or how often or how well you write, “He is risen indeed.”

We will write more stories. We will see them in print and online. We will receive payments. We will smile.

We will also receive rejections. By editors on our articles. By people on ourselves.

But today, step aside from the lists and the goals and the dreams. On purpose, refuse to be so driven. Remember. Remember His death. Remember His death for you.

Stay in that story. The death of your Savior.

Stay in that story. The Resurrection of your Lord.

Stay, remaining away just a while from the demands and the ambitions. Stay, with the story we believe is great. Stay, with the meaning of the bread and wine, of the cross and blood, of the death and Resurrection, of the ancient story and how we are transformed today.

Before we hurry to another submission or another assignment, let us hear Him.

Chris Maxwell served 19 years as lead pastor in Orlando, Florida, after five years of youth ministry. He’s now in his 15th year as Campus Pastor and Director of Spiritual Life at Emmanuel College. He speaks in churches, conventions, and schools, and is the author of ten books, including Pause With Jesus, Underwater, and a slow and sudden God: 40 years of wonder. His latest book is his 2nd collection of poems—embracing now: pain, joy, healing, living.

Be a Window

Gifted authors are fundamentally people who have seen something others have missed and enable us to grasp and appreciate this new way of seeing things in and through their writings. The best writers are not self-promoting narcissists who demand that we look at them, but those who invite us to look through them at what they have seen, so that we too might share in their experiences. They are windows to something that is greater. Those who have seen this before us thus stand to one side so that we might see where they are pointing rather than be distracted by them.

Alister E. McGrath, Mere Discipleship, p. 48

Which Work Is Which?

by Randy Petersen

In my early days as a freelancer, I would try to keep a tally of how much money I earned each day. If I had a 2,000 word article to write for $200, and I wrote 500 words one day, that was $50 to my credit. I set up certain goals for each week and each month.

It wasn’t a bad way to ensure that I was actually making a living as a writer, but over the years I’ve learned to see my work differently.

Let’s say I start a week with a dozen important work-related things to do. Just how important are they? As I plan my days, it might help to ask certain questions that define the efforts in different ways.

Is this work I’m getting paid for? This is the simplest category, and naturally it would get a high priority.

Do I need to do this in order to get work in the future? If you spend all your time on work-in-hand, you may finish it and have nothing to do. Proposals, polishing a resume, tinkering with your website, even schmoozing with editors—all of this is valuable work that may keep the workload steady.

Does this task help me learn a new skill or subject that will help me with future work? Many of us old-timers need a crash course in modern technology. It’s hard to invest precious work-time learning about websites or social media, but that’s probably a great investment.

Does this help me organize my work? Various tools are available to help with, say, billing, communication, presentation, or research. Each one requires some time to learn, and some time to transition from an old way of doing things.

Am I building community with colleagues? It’s hard to quantify the value of networking, but it could be huge—in terms of connections made, work acquired, or expertise shared. (By the way, that’s what I’m doing right now. It’s what the CFWN is all about.)

Am I donating this work to a church or charity? You might choose to exclude this from your normal “working hours,” but it’s important to consider your volunteer work in the total account of what you do.

Is this creative work that feeds my soul? I write plays. Maybe you compose songs or poetry, or you might have a novel in the works. A privileged few make money from these artistic endeavors. The rest of us find other satisfaction in it. If this is not income-producing, it’s wise to carve out some “off hours” to do it. But don’t squeeze it out of your schedule entirely. You need this type of writing to refresh the writing you do for money.

So what?

If you love to schedule things, you might map out a week with time for all these things. In a 40-hour work week, it’s not unreasonable to spend only 20-25 hours on paid work. The rest of that time is not wasted—it’s invested in your freelance career.

This should also inform the way we estimate work time and charge for our services. Maybe you could get this 50-hour job done in one week—if you neglected all these other things necessary for your business and sanity. But more reasonably, you should take two weeks for that, and get paid accordingly. Like lawyers and doctors, you need a billable rate that supports your whole business and not just the time you spend composing copy.

In my early years of freelancing, I’d often feel frustrated at the end of a day. “I’ve been working hard for hours, but my calculations show I’ve only earned a pittance.”  Granted, freelance writing is not the most lucrative profession, especially when you’re just starting out, but understanding the different types of work might help you think and talk about it differently. And that might help you develop a more well-rounded sense of your whole business.

Have Fun When You Write

Just sit down and write your book.

I know that sounds painfully simple, but you’d be surprised how many people want to write a book but never do. So just “doing it” is 80 percent of the battle.

Have fun when you write. Don’t worry about how it turns out. Lose yourself in your sentences. Enjoy the tapping sound of the keyboard. Success is not not your reward. Your life is your reward. The book is merely evidence of your wonderful life.

Sean Dietrich

Eliminate Weak Writing

by Ann-Margret Hovsepian

In my February 16 post, Five (Plus One) Tips for Flawless Copy, I suggested not doing any copy editing until a first draft is completely written. Once you’ve got all your material and have checked all your facts, you’re ready to go through your manuscript more slowly and carefully, checking for basic punctuation, spelling, and grammar mistakes, but also looking for less obvious but common problems writers often trip over.

Hunt down and eliminate words or phrases that are. . .

Meaningless

Instead of “At this point in time,” say “now.” You can almost always delete these words: really, very, actually, suddenly, and currently.

I’ve started to reduce my use of the word “that” but be careful about omitting it completely. Sometimes the word  is necessary for the rhythm or logic of a sentence.

Redundant and superfluous (see what I did there?)

This should be, you know, blatantly obvious but, sadly, it isn’t. Avoid overstatements such as “catastrophic disaster,” “close proximity,” and “plan in advance.” Another cringe-worthy example is “free gift.” Isn’t a gift, by definition, free? All novels are fiction. All surprises are unexpected.

Also be careful when phrasing actions. For example, “He shrugged his shoulders” or “He nodded his head.” Only shoulders can shrug and only heads can nod.

Ambiguous

“Child killers should be locked up.” Are you talking about children who kill or people who kill children? Reading your work back to yourself s-l-o-w-l-y will help you catch phrasing that might be awkward or easily misinterpreted.

Lacklustre (particularly verbs)

In Words Fail Me, Patricia T. O’Connor writes: “Find an interesting verb and the rest of the sentence will practically take care of itself.” Avoid these:

  • Passive verbs – Instead of “That car was bought by Janice,” write “Janice bought that car.”
  • Equating verbs – Instead of “This action is a denial of human rights,” write “This action denies human rights.”
  • “Making” verbs – Instead of “That experience made me a stronger person,” write “That experience strengthened me.”
  • Verbs that need nouns – Instead of “He gained entrance,” write “He entered.”
  • Verbs that need adverbs – Instead of “He ran quickly,” write “He sprinted.”
  • Verbs that make dialogue awkward – It’s not a rule that you can’t replace “said” with a verb that encapsulates a character’s full response (for example: “I’m glad to hear that,” she smiled.) but don’t overdo it. Use “said” whenever possible because it fades into the background and doesn’t jar the reader.

Descriptive instead of declarative

Every writer has heard it: Show, don’t tell. Sometimes a reminder helps. Show a character’s emotions by his actions instead of telling the reader how he feels or relying on adjectives. Instead of “Roger was very, very angry,” say, “Roger slammed his palm onto the table. The coffee mug fell off the edge and shattered. He didn’t notice.”

Good writing is as much about the words you take out as the words you put in.

What are some other tips you’d add to this list? Please comment below!

Point at Things

When you write, you should pretend that you, the writer, see something in the world that’s interesting, that you are directing the attention of your reader to that thing in the world, and that you are doing so by means of conversation.

Steven Pinker

Step 1: Wonder at something.

Step 2: Invite others to wonder with you.

Point at things, say, “whoa,” and elaborate.

Austin Kleon, Steal Like an Artist