John Updike’s Writing Wisdom (part II): Write Daily, Read What Excites You

by Erin Dalpini

Want to be happy? Do something every day, so says Gretchen Rubin, author of The Happiness Project, a bestselling book and popular blog.

It sounds pretty mundane, but according to Rubin, it works, and it can apply to any sort of habit—making the bed, working out, doing the dishes—do it every day and you might find “pleasure in the routine.” Getting into a daily habit, I think, is is a great way to keep from procrastinating doing something you know is good for you, but is hard to start doing–like flossing. Or in my case, writing. And writing query letters.

You see, I have a day job, which is actually writing-based, but outside of that job I find it sometimes incredibly difficult to motivate myself to get to work on a new project or, heaven forbid, just do some good old-fashioned free-writing or journaling.

In fact, inspired by Rubin, one of my New Year’s resolutions was to write daily.

Um . . . it’s March right? Still working on that.

… Continue Reading

Becoming a Writer

by Mike O’Mary

I am editing a book about creative writing. I’m very excited about it. It’s more of a “why” write, rather than a “how” to write. But in the process of talking about why write, the author sheds a lot of light on how to write, as well. I think it’s going to be a great book. I’ll tell you more about it as we get closer to publication later this year.

For now, I want to tell you about another book about writing. Editing this current manuscript prompted me to refer back to one of the first books I read about writing: Becoming a Writer by Dorothea Brande. If you are familiar with Brande’s book, you know the story…written in the 1930s by a woman whose teaching techniques incorporated right-brain thinking and transcendental meditation long before those concepts were popular…long before there were even names for those things! The book went out of print, but was brought back to life and light in 1981 with an introduction by John Gardner. The book is a treasure.

I said earlier that the book I am currently editing isn’t about how to write; it’s about why we write. Similarly, Becoming a Writer isn’t about how to write; it’s about how to be a writer. It’s very inspiring. If you’re not familiar with it, give it a read.

Another great book about writing is The Artist’s Way by Julia Cameron. But more on that book another day. In the meantime, I’m curious: what books do you turn to for inspiration or instruction or motivation when it comes to your writing?

Mike O’Mary is founding dreamer of Dream of Things, an independent book publisher currently accepting creative nonfiction stories for anthologies on 15 topics.

Avoiding the Paper Bin

by Mike O’Mary

Dream of Things has a Fan Page on Facebook, and a while back, somebody left a message for me on the Dream of Things wall: “Ever time try write storys use go in paper bin because stoys not at good.”

At first, I didn’t know what to say. But I thought about it, and then I wrote back: “I think I understand. I have days like that, too.”

Actually, I have a lot of days like that, and recently I kind of hit a wall. Which is why this post is about taking care of yourself and making sure you get plenty of rest and relaxation.

I hit a wall mentally and physically after four months of working 70-80 hours a week. I launched a new publishing company and online bookstore, published two books, started soliciting submissions for 15 anthologies of creative nonfiction, recruited and retained seven editors to edit those 15 anthologies, started contributing to The Freelance Zone, and began editing two book-length manuscripts. And that was in my spare time because I also have a day job. This past weekend, I couldn’t think any more. So I took the weekend off. I went for a walk on Saturday, then spent the afternoon cleaning out my closets, trying on old pants (I had somehow accummulated about 40 pairs of pants) and setting aside anything that didn’t fit for donation to charity. Then Sunday afternoon, I went to the Green Mill in Chicago for some live jazz and to celebrate my girlfriend’s birthday. It was a much-needed break.

When I was freelancing, one of the things I found most challenging was battling the feeling that I could never completely relax. I always felt I needed to be looking for the next assignment, and I never told a client “no” because I never knew when the client might call again. But relaxation is critical to your well-being. Otherwise, it is very difficult to do the very demanding work of writing and editing. So turn off that laptop, put on some music and try on some pants (or try on whatever you like to try on to relax), and live today so you can write again tomorrow.

Mike O’Mary is founding dreamer of Dream of Things, an independent book publisher currently accepting creative nonfiction stories for anthologies on 15 topics.

John Updike’s Writing Wisdom (part I): Book Reviews

by Erin Dalpini

I’m working on a new project—a book review of a contemporary novel I recently read; although I’ve done this before, I’ve been thinking a lot lately about what makes a fantastic book review.

Last fall, when I was doing some research for a review of Toni Morrison’s newest novel, A Mercy, I dabbled around on the Internet to see what others were saying about this book so that I could join in that conversation. I’d already read the book and had formed an impression of it, but I knew I needed to know what the experts thought.

One of the first pieces I found, a review in the The New Yorker caused me to sit up and take notice—it was an engaging, entertaining, and also gave me some new insight into the novel. When I looked for the byline, to my surprise, it was the literary legend John Updike. Updike, though best-remembered for his extensive body of fiction (short stories, novels, poetry), produced an equally-impressive array of literary criticism and essays. In short: the man was prolific. And he had an extraordinary way of making a book review anything but mundane. This piece was sharp, witty, informed, concise—essentially, it was the best book review I’d ever read and it left quite an impression on me.

So, returning to the writer’s block, I was curious: what did Updike have to say about writing book reviews? And what do modern day writers do when they have an obscure question like that?

Right. Turn to Google.

I was fortunate early on to stumble across a post (from a book blog I promptly bookmarked) pointing to hidden treasure: an older post, from the blog of the National Book Critics Circle, citing helpful tips from the master himself (one that’s so dated it redirects readers to the new host that, from what I can tell, does not have the piece archived). The advice is from Updikes’s Picked Up Pieces, a collection of his assorted prose. Three points (of six) I found incredibly helpful… … Continue Reading

A Larger Truth

by Mike O’Mary

Twenty years ago, when I got an MFA in creative writing, fiction and poetry were the only options when it came to areas of emphasis. Since then, creative nonfiction has gained equal footing with fiction and poetry in the eyes of academia, and many MFA programs now offer an emphasis in creative nonfiction.

Of course, readers are less interested in the views of academia than in a good read. Consequently, readers have known for decades what MFA programs have finally figured out: creative nonfiction is hot! And there are many places to publish -– everywhere from Harper’s to your local paper. In fact, before I published creative nonfiction “essays” in the Sunday Magazines of the Chicago Tribune, Baltimore Sun and others, I got my first breaks with newspapers like the Peoria Journal Star and the Joliet Herald.

In a www.creativenonfiction.org article, Lee Gutkind, often described as the “Godfather of creative nonfiction,” says creative nonfiction “offers flexibility and freedom while adhering to the basic tenets of reportage. In creative nonfiction, writers can be poetic and journalistic simultaneously.”

In that same article, Gutkin quotes Gay Talese, who described creative nonfiction this way: “Though often like fiction, it is not fiction. It is, or should be, as reliable as the most reliable reportage, although it seeks a larger truth than is possible through the mere compilation of verifiable facts.”

There are lots of great examples of authors who sought “a larger truth” in their creative nonfiction. Some of my favorites are Joan Didion (The White Album and Slouching Toward Bethlehem), Michael Herr (Dispatches), Barry Lopez (Arctic Dreams), Frank McCourt (Angela’s Ashes), Tom Wolfe (The Electric Kool-Aid Acid Test and The Right Stuff), Maxine Hong Kingston (The Woman Warrior), and Mary Karr (The Liar’s Club). Who are your favorite authors of creative nonfiction? And when do you plan to join their ranks?

Mike O’Mary is founding dreamer of Dream of Things, a book publisher currently accepting creative nonfiction stories for anthologies on 15 topics.

Get Your Financial House in Order before You Freelance Full Time

By Yolander Prinzel

This week, Joe did a little tongue-in-cheek (okay, that saying doesn’t even make sense. Where else would your tongue be??) post about quitting your job today and going full time into freelancing. I thought I would piggy back on his post and write one that is tongue-out-of-cheek, which may mean I’m sticking my tongue out at you as I write this, I’m not sure.

Here are some financial things to consider and do before you quit your job to freelance full time:

1. Find out how close you are to your next vesting year. For every year that you are with an employer, you are more and more vested in the corporate contributions to your retirement plans. If you are thinking of quitting now and you are just 5 months away from being 20% more vested, you could lose hundreds of dollars by leaving too soon.

2. Save at least two months worth of expenses. Yeah, no, I know, you have a huge client list and your business is going really well, so it’s all good if you have no savings. Except that no, no it’s not. How are you going to deal with it the first time a gig falls through? The first time you lose a regular gig because the company goes bankrupt? The first time a check gets lost in the mail or sent out late? There are so many variables to worry about that you definitely want an emergency slush fund above and beyond your other savings.

3. Do what it is you think you are going to do. You know how much money you need to earn each day in order to live. If you need to make $200 a day and your regular gigs make up $150, then you need to find another $50 in gigs each day. You really do need to go ahead and do that. It’s very easy to just…not…and sit around reading instead. If you do, you’ll find you start depleting your savings pretty quickly.

4. Keep marketing and networking. Even if you have enough work this month and next, you need to be marketing and networking for your future months. You don’t want to be caught off-guard when your workload starts to slow and then try to scramble to find some real quick-like.

Yolander Prinzel, ACS is a financial writer as well as a series 7, 66 and 2-15 licensed financial representative with a decade of industry experience. She was the National Director of Marketing and the Director of Operations for The Compass Agency USA and has also been a trader for Raymond James Financial Services. None of her posts are meant to be advisory. Only an advisor with close, personal knowledge of your financial situation can offer advice. You can get her new e-book You’ve Found Your Specialty–Now What? Tips and Tricks to Finding and Scoring Clients and Making a Living Writing What You Know here for just $7.95.

The Traveling Writer’s Most Important Accessory

by Joe Wallace

I took a new-to-me vehicle out on a cross-country trip last week which combined business and pleasure–I was, among many other things, writing my way from Chicago to Texas at Turntabling.net about indie record stores I found along the way.

The new-to-me vehicle was a Ford Escape that alas, did not come with leather seats. “Who needs leather?” I asked myself, blissfully unaware that the 1000-plus mile journey (one way) would soon take its toll on the writer’s most underrated asset.

There are thousands of books written for writers about every possible topic–markets, career choices, even a few health guides. But as far as I know there is NOTHING dedicated to the care of the freelancer’s arse. … Continue Reading

Joe Eszterhas Writers On Writing

by Joe Wallace

Transparency alert–I have NOT read this book yet. But if it’s ANYTHING at all like Eszterhas’s The Devil’s Guide To Hollywood, which was a rough-n-ready how-to for apsiring screenwriters, Joe Eszterhas Writers On Writing should be a very entertaining, inspirational read.

Eszterhas was the bad boy of Hollywood–he wrote Basic Instinct, Jade, Burn Hollywood Burn, plus the controversial (and insipid) Showgirls. He’s the stuff of legend–telling his employers where to stick it at every turn when they tried to tell him how to do his work (these were not fellow writers, mind you–sound familiar?).

In spite of his wild man status, even the most sainted among us can find some inspiration from Eszterhas for one simple reason–his ultimate philosophy is simple. YOU are the writer, NEVER give up, and don’t let people who don’t know the game tell you what the rules are. That’s the sort of tough-mindedness you need to survive in the biz whether you’re writing for Associated Content or for Stevie Spielberg.

It should be pointed out that this time, Eszterhas isn’t the one behind the pen–he’s being interviewed by Stephen Farber. This book is part of a series by the Writers Guild Foundation, so it’s a bit different in style and tone than Joe Eszterhas’s titles like Hollywood Animal and The Devil’s Guide to Hollywood.

For Freelance Writers Only: Top Ten Writing Paradoxes

Editors, go away. This stuff is for freelance writers, and my advice here will only make you dizzy. Go back to following the Eminem Bruno stunt or search for some Sims 3 cheat codes. This is for writers, and I’ll get round to doing some editors-only content very soon. Don’t feel all left out, just go back to reading The Onion and let the writers feel like they’re getting some secret sauce here.

Writers, ever notice the paradoxes about being a freelance writer? I’ve been making a few observations lately since I work both sides of the desk as a freelance writer and editor. Here are my top ten:

10. Editors don’t need you. The accepted wisdom is that there are people lining up ten deep to fill your shoes. So you landed a query, eh? Good one. You somehow edged out the other 100 people trying to get paid. We’re a dime a dozen, right?

9. Editors can’t live without you. This is also true. Sure, there are hundreds of people trying to get an article published at the publication you just sold a piece to–but a lot of them don’t know how to play the game just yet, or haven’t got the knack of querying effectively or just plain suck. And once you land a gig, are you a reliable and trustworthy source of articles? Or are you a flake like some of these others? Dependable, flexible, easy to work with writers are NOT a dime a dozen.

8. You charge too much. In many cases writers don’t get to set their rates. Publications who offer X per word aren’t going to haggle with a new writer. But what about when you land some kind of sweet content gig or blog posting contract? Some writers make the mistake of not scaling their income towards the type of writing they are doing and expect the same pay for the same word count, regardless of medium. That might be counterproductive.

7. You’re not charging enough. Writers are often afraid to charge what their time is actually worth. If you are a new writer with a lot of time on your hands (read–not many deadlines) chances are you can and should offer lower rates until you learn how to play the game. But if you’re a busy freelancer and your valuable time is too precious to parcel out for ten cents a word, don’t take that ten cent a word gig! Decide how much money you need to add yet another deadline to your already busy schedule and price accordingly. How much is that extra Saturday you’ll spend working to make deadline worth to you? Charge that.

6. Your work isn’t quite awesome enough. Some writers get the inflated ego that comes with a few successes and start thinking (temporarily) that they don’t need to do third drafts or double check their work for spelling errors, apostrophes or even poor usage. WRONG! Even Stephen King does many drafts…and he’s an old hand at this writing business.

5. Your work is too cool for school. Let’s face it, if you’ve been at this for any length of time and are getting paid for your work, you are DOING SOMETHING RIGHT. What you have to do now is do more of what you’re getting right and less of what you’re getting wrong. Or at lest figure out where you are going wrong and start correcting that so you can be even cooler.

4. Your editor is a dummy. How many times do they write you to revise your article with things they asked you NOT to do in the first place? How many times do they issue you a deadline then write you back asking either “Where is this very late or about to be late article” that ain’t late at all or hasn’t even been given the green light yet? How many times do we have to pester them until they pay up? We turned it IN on deadline, why aren’t we getting PAID on deadline?

3. Your editor is a genius. I have improved my writing by leaps and bounds simply by watching what my editors do to my finished pieces. Yes, you have to re-read your own work to see where they made the changes sometimes, and yes you have to accept that your precious work has been altered. But reading your writing through someone else’s eyes is the singlemost important thing you can do to improve. Read your articles and blog posts as though you were a casual reader trying to decide whether or not to subscribe. Now you’re getting the idea…

2. Freelance writing sucks, I want to be an editor. Editors don’t have to do yet another draft because there was some difference of opinion about a minor detail. Editors don’t have to put up with waiting around for weeks on end to learn whether a story idea was approved or not. Editors have it so much easier than the writers because they control who gets printed and who doesn’t. Don’t you love the idea of all that power?

1. Editing sucks, I want to be a writer again. Editing well isn’t just about fixing and scheduling stuff, it’s so much detail and coordination…you have deadlines to beat and writers are flaky, they turn in stuff late, and full of last-minute work YOU get to do to make it press-worthy. Probably over your lunch hour or off the clock. You can’t depend on them to hit the deadline you set deliberately so you could go to press on time or publish on a specific date. Editors have to comb through the bad grammar and goofy sentence construction of so many people your eyes start to burn after a full day’s worth of correcting and clarifying. I want to go back to that cushy world where deadlines don’t mean anything to me personally except for a paycheck and all that…

10 Ways to Land More Gigs: The Gospel According to FreelanceSwitch.com

Spotted a great article on how to land more freelance gigs–check out this FreelanceSwitch entry which talks about using Gmail to its’ fullest potential, taking advantage of RSS feeds, and paying attention to volume and the law of averages when it comes to submissions.

I myself have advised people to do many of these things, but there’s one caution I’ve been remiss in pointing out an important issue when using volume submissions to increase your responses. If you query multiple publications in the same market, don’t query the same article or the exact same topic to multiple sources–unless you are prepared to give each publication something unique. Running the same story in multiple magazines or websites (without telling them up front) is not only considered bad form, it can also get you in hot water when the editor at magazine A finds out you ran an identical piece in magazine B.

This is known as a simultaneous submission, and it’s only fair to let editors know in advance if that’s what you’re doing. Some pubs don’t mind simultaneous submissions but others are very particular about them–know before you submit! It’s never good to pitch the same story with the same interviews and quotes to two competing mags unless you’re sure having them both run at the same time (always a possibility) won’t come back to haunt you (or the editors of your respective magazines) for any reason.

Kudos to FreelanceSwitch.com for an excellent post!

Understanding Your Editor

I have written elsewhere that I have very little use for About.com. In my snottier moments, I paraphrase William S. Burroughs; I find the advice on About.com to be roughly on the “Confucius say” level.

Today, however, I am pleased to report that I am eating the tiniest helping of crow, as I’ve found a quite redeeming article on About.com, and located in the Freelance category to boot!

Allena Tapia’s article, “Tips For Dealing With Your Editor” may seem like a list of revenge ideas if you go by the headline alone, but speaking as an editor myself, Tapia hits the nail squarely on the head with this short, readable list of things that can make your life as a writer and mine as an editor much easier indeed.

Her most valuable bit of wisdom? Here’s a quote. “Despite the editor’s role in your writing, the writing is still your job. Turn in the most flawless work you can.”

I cheered when I read that and I can tell you–again, from the editor’s perspective–it doesn’t happen nearly as much as we’d like. Sure, dear reader, I know YOU turn in flawless copy…but that ONE guy who turns in dorked up material on a regular basis puts the whole operation back for as long as it takes to chase him down and get him to fix what should have been right the first time.

Read this quick, informative article and you won’t regret it. The only advice missing from this piece is not to take it personally if the editor doesn’t get back to you in a timely manner once the article is put to bed for that issue–we’re usually putting out other fires in the meantime.

A good editor will eventually drop you a line, but sometimes there are other little crises to deal with between approving your submission and going to print or live on the web.

That minor nitpick aside, this article is spot-on, and I wish there were MORE of them. Recommended reading.

Five Freelance Writing Mistakes That Make You Look Like A Noob

Freelancers new to the game often make critical mistakes in their writing. These mistakes expose them as noobs. As in newbie. As in, inexperienced and in need of coaching.

Here’s a secret–they’re the same mistakes that seasoned pros sometimes make. The problem? No matter WHO does it, it comes off as amateurish and makes an editor wring her hands in frustration.

Here’s a list of things to check your copy for to insure you get a fair shake–whether you ARE a newcomer or a long-time player:

5. Word repetition. What’s wrong with this sentence? “The Air Force paid $60 billion for six deliveries of the new high-powered tactical aircraft. According to Pentagon news releases, the aircraft was designed to be capable of winning multiple dogfights against similar aircraft regardless of weather or visibility conditions.”

4. Mangled subject-object relationships. As in, “Once Terry started chopping away at the telephone pole, he noticed the brick wall only a few feet away. He realized it would fall down in the wrong place, causing expensive damage he couldn’t afford to fix.”

3. Bad use of common words. “There” refers to a place. “Their” is possessive. “They’re” is a contaction for the phrase “they are”. It is quite easy to mangle these when you’re in a hurry. The editor sees this and assumes you were in too much of a hurry and didn’t correct. Not good.

2. Improper use of non-conversational words. Big words are a freelancer no-no in many cases–why write “discombobulated” when “flustered” will do? There are times when a larger vocabulary is required, but when you DO use that five dollar word, be sure you know what it means. Are “incisors” the same as “canines”? Do you know for sure? What about the difference between vehicular manslaughter and vehicular homicide? There IS a difference. If you’re not sure, a quick look at Google or a dictionary will save you much grief later.

1. Run-on sentences and choppy copy. Here’s an example of a run-on sentence that just won’t quit no matter how hard you try to stop writing and move along to another subject so you can get to the point faster and make your editor happy.

Choppy copy is often caused by punctuation problems. Here’s an example:

Choppy. Copy is a problem. Often created by people. In a hurry. It looks ignorant and untrained. But choppy copy often plagues first drafts. It should get caught in a second draft. But if you don’t take the time, you won’t catch it.

You can catch choppy copy by asking yourself if you need a comma instead of a period, or by reading the text out loud and reading each sentence to the period as a stand-alone sentence. Does it still make sense? How does it sound when you read it back to back with all the other sentences in the paragraph?

Cut out these mistakes from your copy and you’ll go a lot farther with a new editor—especially in the query process.

How To Query Magazine Editors

When I started as a freelancer, I studied query letters to see if I could learn “the secret” to getting an editor’s attention when pitching a freelance article. I figured there must be some kind of industry standard to formatting the query letter to let the editor know I’m capable, hard working, knowledgeable, and full-time freelance.

Turns out I was doing it all wrong. But only because there IS no standard query letter. They’re as individual and varied as the editors you send ‘em to.

If you really want to know how to write a good query letter, try these on for size:

1. Learn the editor’s name. If you can’t get it, leave out the salutation altogether. It’s more professional.

2. Be direct and to the point, but don’t leave out crucial details. If you’re an expert in the topic you’re querying, be sure to mention it. If you aren’t, let the editor know what expert you might have lined up to supply quotes for the piece.

3. Give an approximate length but let the editor know you’re flexible. “I can give you 1200-2000 words on topic XZY.”

4. Try to pitch to a specific part of the magazine. “I’d be happy to submit this for consideration in your Grumpy Traveler section.” This tells the editor you’re familiar with the publication.

5. Don’t write about any shortcomings, weaknesses, or non-article related issues. “I’m a young writer but eager to learn” is a bad thing to include in your letter. So is “While I don’t have any personal experience in this area, my subject matter expert says…” Just tell the editor what your subject matter expert says.

6. Don’t over use adjectives, but remember that you are SELLING your article to this editor. Make a sales pitch. “Doctor Jerry Casale has invented a device he says can prevent traumatic flashbacks in war veterans.” The word “traumatic” isn’t strictly necessary, but it does make a stronger presentation.

7. Be personable, but not over-familiar. Be friendly but respectful. Confidence without arrogance is a good sign in a query letter.

8. Always include an e-mail addy and phone number even if you’re writing an e-mail query.

Freelance Writers: Please Stop Flirting With Me

I’m clearly having a Dave Barry moment, so please be patient.

Lately the deluge of offers of naughtiness are coming at me non-stop. Already twice today at the time of this writing, I’ve had freelance writers let me know they think I’m hot stuff.

Now they’re too professional to come right out and say it in an e-mail. No, these temptations come to me by way of thinly veiled messages. To the casual readers they look like simple writing goofs, but I know better.

See, I know how to read between the lines. And I can JUST TELL these freelancers are trying to tell me something. Something steamy. Like maybe they want me to scoop out one of my spare millions and take them on a world cruise, sipping alcoholic drinks out of coconut shells and savoring the pleasures of the flesh.

I know what you’re thinking right about now, but trust me. This is REAL. They all use the same code, and it’s flattering really…but I just don’t know how I can afford to take ALL these people on a steamy cruise, let alone spend the proper amount of time with them all. So what’s the hidden message in all of this material they send me?

They all write, “Please bare with me.” Some say it in the articles they send, others say it in their cover letters or e-mails about this and that. Some of them also mention that a sign proudly “bares” a logo, or that they “bare in mind” which also sounds to me just a bit dirty. I know dirty thoughts when I read them, oh yes indeedy.

But I just can’t bare with you. For starters, I’m taken. What’s more, I can’t afford all the cruise ship time. I’m flattered, really, but it won’t work out between us no matter how many times I bare with you.

Please don’t be hurt or upset, but unless you want me to “bear with you” instead, I’m afraid it’s just not on, as the kids would say. I just can’t respond to your pleas for nakedness.

I’m sure you understand.

Five Steps To Instantly Improve Your Writing

How can you improve your writing in seconds? It’s simple once you make a few habits second nature. I know plenty of writers who agonize over every line, but it is very rare that they manage to improve without taking at least a couple of these suggestions to heart.

The trick is to make these concepts a part of ALL your writing. That includes shopping lists, e-mail, even the way you speak. If that sounds extreme to you, remember that good writers are the ones who took great pains over their work–the writer’s equivalent of practicing the free throw, the slap shot, whatever. Writers don’t practice writing, instead they do it in public–your best and worst work goes to the editor and you cross your fingers. When it’s your worst work, you don’t get the gig. Hell, sometimes when it’s your best work you don’t get the gig either.

It pays to be proactive and submit your very best. Here are five ways to do that:

5. READ the line. Here’s a great example. Author Ron Fry wrote a book called Improve Your Writing. A lesser writer would have titled it “Improving Your Writing“. Look at that line and tell yourself why it doesn’t work. Can’t tell? Try saying the title out loud. Now you get it. READ your material.

4. Avoid your personal set of cliches. Phrases like “Take a gander,” “Have a look,” “You won’t believe.” and my own personal example, “In the world of…” This tip goes back to the previous one. READ your work and scour it for cliches and dump them. Be cruel.

3. Don’t fall in love with your own prose. I’ve known a writer or two so in love with their own work that they get very annoyed when an editor changes something. Folks, there are people out there who know writing better than you and they have something to teach you when they revise. Don’t assume you are the master of your craft. Stephen King doesn’t, and you’re no Stephen King. No matter WHO you are.

2. Don’t try to make a final draft when writing your first draft. By this I mean don’t try to write it perfectly the first time. Writers who put down a line or two then go back to try and polish it right then and there miss the whole point of a first draft. The first draft is a way to collect your best ideas in one place. The second draft is to make those ideas clearer and read better. The first draft should NOT be polished as you go. Just blurt it out there and revise once your thoughts are done.

1. When freelance writing, don’t assume that your articles or blogs are the only place you should worry about your words. That e-mail to your editor should be given the same attention as everything else you write. COMPOSE those letters and never send a first draft of ANYTHING, even a query letter. This advice also goes back to the first rule in our list. READ your work and make good writing second nature even in those goofy one-line messages you post on Twitter.