For all of August, take 25% off a yearly subscription to FWT! With a paid sub, you’ll get an additional newsletter every week, 50% off all workshops and Zoom events, access to the all previous paid posts, invitations to subscriber-only events, and more. Click here to get your discount!

Hello friends, and welcome to the final week of Intro to Freelancing Month! And what a month it’s been, from the basics of getting started to becoming the kind of freelancer that editors text assignments to. I truly hope you’ve gotten something out of this month’s editions. Thursday is the final newsletter — it’s a lovely little send-off to our theme — then next month we’re back to our regularly scheduled programming.

So! Today we’re tackling the single most common question I’ve gotten in the years I’ve been running FWT: What do I do if I don’t have a lot of clips/clips in major outlets/impressive bylines/etc.?

In working directly with thousands of freelancers, both here and in my previous jobs, I’ve spent more time talking writers down from this ledge of anxiety than on any other topic. And not for nothing! This is a perfectly valid thought! We all have this anxiety! It plays into our collective impostor syndrome — as we all know, a regular feature of the freelance life — and sometimes it makes us intimidate ourselves out of pitching those major publications.

Friends, let me put you at ease: Clips definitely matter, but less than you probably think. Let’s get into it.

Zoom workshop alert! Want to get those big bylines? On September 18, I’m hosting a workshop focused on writing a perfect pitch that editors will actually read — and commission. This will cover structure and format, what must be in a pitch, how much pre-reporting you should do, how to find editors to pitch, and so much more. Click here to register. (Paid subscribers get 50% off tickets!)

First of all, do editors really care that much?

In a word: yes. In many words ... here’s what you may not realize about editors and clips.

Yes, clips do matter, editors do care, and we do read them when you pitch us. But it’s a lot more nuanced than just, Is this byline in The New York Times or a hyperlocal blog? Most important, a good clip is a good clip, regardless of where it’s published. But there’s a lot more to it.

For example, I’ve had first drafts come in that take weeks to edit and refine, and my fingerprints are all over them. But I’ve also had drafts come in that are pristine and take a comparatively tiny amount of time to get in shape. Good editors will do everything possible to preserve the original voice, style, intent, and essence of the writer, but sometimes you do get a story that you end up significantly rewriting. It happens to us all, and it’s part of the process. (Remember, though, that you and the editor will always have the same goal in mind, which is to make your story the best version of itself it can be.)

But an outsider to that process sees only the final, published version, with no insight into what it took to get to that version. Editors know this, so we take it into account. To be clear, all credit goes to the writer — it is their byline, after all — but editors have no idea if you filed a story that had to be fully rewritten or if it took just a light touch.

Don’t get me wrong here: At the end of the day, the writer earned that byline, and it is theirs, solely and completely. Don’t let your takeaway here be that I think editors do all the work — I don’t, and I know the process from both sides. I’ve filed countless stories that were directionless or needed a major rewrite (or both!)! Everyone needs an editor.

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Okay, sure. But what if I really don’t have any major clips? Or any clips at all?

That can be okay! It’s not the pitch-killer a lot of freelancers think it is. You have the clips you have, so just send editors your best stuff, no matter where it was published. Is a Los Angeles Times byline better than a local blog? Sure, but you don’t need me to tell you that. But if your best stuff was published in that local blog, don’t discount it — those may be the clips that let you put your best foot forward. Truly, the quality of the story matters so much more than where it was published.

As for what to do if you don’t have any clips at all — well, gotta start somewhere. So just keep pitching! You can mention it, but don’t dwell on it; just something like, I know I don’t have a huge portfolio yet, but I think this story idea is strong enough that I couldn’t not pitch it, or something along those lines. Keep it simple. You’d be surprised at how many editors will take a chance on a less-experienced writer when they have a great idea. We take on those writers knowing the story will probably take more time and energy, but if we believe in the story, that’s time and energy well spent. One of the great joys of being an editor is discovering and developing new writers, so why shouldn’t you be one of them?

That’s all well and good, but what do I actually do about it?

Right, so. Attendees of my Zoom pitching workshops (like the one coming up in September) have long heard me say that the only way to get major bylines is to get major bylines. Don’t intimidate yourself out of swinging for the fences and pitching top outlets. If someone is going to say no to your idea, let it be the editor; don’t say no to yourself.

In truth, that’s kind of it. Again, you have the clips you have, so just include the stuff that best represents you as a writer and journalist. Editors are very willing to take a chance on someone without the “right” clips if they come with a fantastic idea.

What clips should I include, anyway?

Whichever clips best show off your abilities! With every pitch, you want to include three or four specific clips that speak to who you are as a journalist and what you’re capable of, along with a website or portfolio if the editor wants to dive deeper. We’re going to look it up anyway, so might as well just put the link in the pitch itself. (And, yes, a website/portfolio is one of the few mandatory things every freelancer needs no matter what.)

So you’re saying I should just pitch the big league-outlets whenever I want? Even if I don’t have big league-bylines?

Basically, yep!

This whole post is really just a very long of saying way: A great story idea always will almost always outweigh a lack of “big” bylines. You could have a portfolio chock full of Vanity Fair and Washington Post clips, but bylines won’t sell a story idea. That part is up to you.

Oh, a few other things …

• I offer one-on-one coaching! Need help developing an idea or sharpening one you already have? Want a seasoned eye on a pitch you’re kicking around? Interested in talking about careers and building your freelance business? Maybe just want an edit on a story draft? I’ve got you covered! Click below to book a one-on-one coaching session to talk about pitches, story ideas and development, editing, careers, or anything else you might need help with!

Click here to book a session

• Get a pitch commissioned recently? I want to see it! I’d love to feature you and your #pitchesthatsold in an upcoming series examining great pitches that resulted in stories. Let’s see ’em!

Email me

• More from Intro to Freelancing Month:

Hi gang! Today we’re going to talk about how to get so good at freelancing that editors will come to you instead of the other way around. Really, this is the ultimate goal for a freelancer. Building working relationships with editors is key to longevity, that’s exactly what we’re covering today.

I’ve invited veteran freelancer Paulette Perhach to shed some light on how she approaches relationship-building with editors (and how a Times editor literally texted her an assignment).

Take it away, Paulette!

***

Bad news, friends: If you want to sell your writing, you must actually — brace yourself — sell your writing.

I know. We didn’t sign up for this. But rent’s due, so let’s get into it.

When we talk sales, let’s not conjure the image of a sleazy liar trying to pry a dollar out of some unsuspecting grandma.

Instead, think of your favorite salesperson: the ice cream man.

He’s just out there playing his little song so you know he’s around, offering something he thinks you’d like. And what do you do? You grab the change jar and haul ass out the door. Because he has something you want.

That’s the kind of writer you want to be for editors.

The world beyond pitching

But my god, you might be thinking, the competition!

This is a mistake I made when I was a beginner, long before I believed I could be the kind of person who had 20 bylines in The New York Times. I focused solely on competing by story.

Read more

Hello friends, and welcome to week three of Intro to Freelancing Month!

Today we’re going to talk about setting up your career for long-term success and progression. Jumping into this life can feel daunting, confusing, and directionless — once you get started, sometimes you just hit that point: Where the hell do I go from here?

I’ve invited fellow freelancer Natasha Khullar Relph to help us figure this out. A while back I came across a post on LinkedIn from Natasha — now more than 20 years into freelancing — in which she dashed off a list of the best things she’s done for her freelance career. I loved her super positive outlook and realistic take on the industry, so I asked if she’d be up for expanding on her original post with some additional context and experience.

Take it away, Natasha!

***

When I first started freelancing, I was a 19-year-old college student in India. I had never written anything for publication, I had no experience, I had no contacts, and I certainly had no clue.

But looking back over my 20+ years as a freelance writer, I can see clearly that the decisions I made in those early years acted as the basic building blocks for what would become a profitable, long-term writing career. Here’s what I did that allowed me to succeed.

I went directly to my editors for advice

I stopped listening to advice from struggling writers, and I went directly to my editors for help instead. After pitching Time magazine daily for weeks and getting nowhere, I eventually sent the editor an email that said, “I’m not sure I have a good enough handle on what kind of ideas would work for you. Would you mind if I called you or dropped by your office to discuss how we can make this work?” He said yes, and I ended up becoming a freelance correspondent for the publication for many years.

I invested in my career

I joined paid writing groups and professional organizations. I made sure not to just listen to the advice, but implement it constantly, even if — especially if — it challenged my beliefs about the way things should be done.

I expected to be treated well

As a freelancer from India, disrespect from editors was not uncommon. Despite having written for both The New York Times and Time, a national radio broadcaster offered me a monthly contract that was equivalent to what they paid American reporters based in India for a three-minute audio piece. For both my sanity and my career, I made it a point to walk away from editors who didn’t respect freelancers, and went out of my way to make things easier for those who did.

I aimed high

I pitched editors at publications I thought were out of my league, and I often ended up with assignments from many who, surprisingly to me, thought I was an excellent fit.

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I stayed in touch

I developed long-term relationships with my editors by calling them when in their cities and meeting them whenever possible. Even though it made me incredibly uncomfortable in the beginning, I got on video calls and tried to forge personal connections so I wouldn’t be easily forgotten.

I took risks

I experimented with the style, subjects, and variety of my work to give myself a chance to discover where I excelled. I learned about new technologies and built experience in different industries to avoid becoming bored or complacent.

I asked for honest criticism

I learned to take honest feedback from people I respected. I was grateful for the criticism, but I also learned to recognize people with hidden agendas. I constantly strived to get better at both writing and pitching — and still do!

I submitted only my best work

I gave it my best, whether I was being paid $200 or $2,000. Doing excellent work for small publications helped me show high-quality clips to editors at better-paying publications who were able to spot good writing even when they didn’t recognize the publication.

I gave back

I helped fellow writers and photographers break into publications I was already writing for. Sometimes, when they were able, they helped me back, too. Eventually, I put everything I know into a website called The Wordling, where I’ve published 100+ articles and created dozens of free resources, including a list of 200+ publications that pay $1/word or more.

I truly believed in my success

I was told I couldn’t do it from India. I was told it was impossible to make a decent living with it. I was told you could chase the awards or the money, but not both. I was told that if you wrote stories about social issues, you wouldn’t get paid for that work. (My highest-paying assignments have covered human rights issues.)

I learned to trust my gut and to allow myself to follow my own path, even if that meant I had falls along the way. I proved to myself that it didn’t have to be love or money. For me, it has been both.

Natasha is a freelance journalist with bylines in The New York Times, Time, CNN, BBC, ABC News, The CS Monitor, Ms., and more. She’s also the founder of The Wordling, where she publishes free resources for freelance writers, including this list of 200+ publications that pay $1/word or more. Look her up on LinkedIn.

Oh, a few other things …

• I offer one-on-one coaching! Need help developing an idea or sharpening one you already have? Want a seasoned eye on a pitch you’re kicking around? Interested in talking about careers and building your freelance business? Maybe just want an edit on a story draft? I’ve got you covered! Click below to book a one-on-one coaching session to talk about pitches, story ideas and development, editing, careers, or anything else you might need help with!

Click here to book a session

• Get a pitch commissioned recently? I want to see it! I’d love to feature you and your #pitchesthatsold in an upcoming series examining great pitches that resulted in stories. Let’s see ’em!

Email me

• More from Intro to Freelancing Month:

Hello friends! As we dive deeper into Intro to Freelancing Month, today we’re going to focus on an under-discussed-yet-crucial part of being a freelancer: the very first steps to take after getting commissioned for an assignment. This is one of the most important and nuanced things to master, and messing up at this stage can spell disaster for your entire story.

I’ve invited freelance writer and former editor Liz Massey to share some of her advice for what to do right after getting an assignment. In this checklist, she pulls from her experience on the other side of things as an editor, and adapts that knowledge into a process she now uses as a freelance writer.

Take it away, Liz!

***

While I focus primarily on freelance writing these days, I worked for more than a decade and a half as a managing editor, serving at two magazines. Few things were as exciting — for both editor and writer — as making a story assignment. But on the other side of that coin, few things were as disappointing for either party than a story assignment gone awry.

As an editor, I learned that the smallest omission I could inadvertently make in a story assignment could result in a fully qualified freelancer filing a story way off from my intent for it. When the differences were stark enough, I had to open a challenging, potentially awkward conversation about revision and provide feedback that could potentially lead to defensiveness and resentment.

Over the years I developed a detailed approach to delivering story assignments, resulting in great stories and praise from writers. After leaving the editor’s desk and taking up freelancing again, I didn’t want to hope and pray I’d find an editor who shared my approach to story assignments. So instead, I developed a systematic method to assess an assignment and guarantee I identify elements critical to writing the story the editor has in mind.

Why do editors send vague assignment letters, anyway?

Some editors who send you assignments that read like a fortune-cookie paper slip are tired. Some are stressed and in a hurry. Some already know your work and don’t want to seem like they don’t trust you.

Read more

Hello friends, and welcome to week two of Intro to Freelancing Month at FWT!

Today we’re going to pull back the curtain a bit on building lasting, sustainable, productive, and just great relationships with editors.

This was the idea behind a conversation I hosted recently in which I and a few other editors who work with freelancers — Julie Gerstein and Laura Norkin — talked about the things editors look for in freelancers, what we want in that working relationship, how freelancers can become regulars, and what editors aren’t really interested in. (Spoiler: We care about fancy degrees and fancy bylines far, far less than you might think.)

SO. What are editors really looking for, and how can freelancers stand out from the crowd?

Let’s get into it.

Does your background, your bylines, or your ‘pedigree’ matter?

Not nearly as much as you’d think!

Editors want good stories, no matter where they come from. If you’re a student, new to the industry, or getting back in after some time away, just bring good ideas — that’s what editors care about. Does it help if you’ve had a story in The Boston Globe or Esquire? Sure, of course. But that’s never going to be the deciding factor — or sometimes even a significant factor — when an editor is considering your idea.

Much more important factors are whether your story is important to that publication’s (and, even further, that section’s) audience; whether it adds to a conversation, topic, idea, or cultural discourse; how original and unique it is; and if you’re the right person to tell this particular story.

When editors take on stories from less experienced journalists, students, or people who don’t exactly specialize in the topic or story type they’re pitching, we do so with the understanding that this idea might take a little more effort, energy, and time than stories from people who have been doing this for 20 years. And that’s okay! One of the joys of being an editor is seeing our writers grow and develop, and we want to work on stories with you that push us both to become better journalists. Even if you’ve never written a story around X topic, pitch it anyway and swing for the fences. Why not see if The Washington Post is interested! The worst thing that can happen is you’ll get a rejection, and then you can just move on to the next outlet. If an editor is going to reject an idea, let them do it; don’t reject yourself before you even have a shot.

(And, just to put this one to bed: No, we don’t care if you went to journalism school.)

What editors want in a pitch beyond just the basics

I’ve written about and talked often about a pitch format that I think works for most stories, but that’s just the basic outline of what you need in a pitch. As far as the actual content goes, we really want you to stretch a little bit and, well, show off.

A pitch is your first opportunity — and, often, the most important — to demonstrate who you are as a writer. What’s your style? Your voice? Your approach to telling a story or describing a scene or character? Do you know how to hook and engage an audience? Can you write with color, vividness, and lucidity? Show us! It’s perfectly fine to talk about your bio, describe the story, then talk about the contour of its structure, focus, and overall purpose. But you can capture all of that and so much more if you take a big chance and really write through the idea and show us your chops.

Just to reiterate what I wrote in that pitch format guide,

Got great characters? Introduce them right away. Big drama or tension? Put that directly into the opening of the pitch. Illuminating data that tells a story? Give it to the editor right off the bat. This first section is where you put the absolute best, juiciest, and most compelling aspects of your story, written out as if this section could fit right into a draft of the story. [...] You want to get the editor excited about and invested in your story, and the best way to do that is to put them right in the middle of it. Give away the goods and draw your reader in immediately.

In the conversation with the other editors, Laura added: Understand “the goal of the publication or of the editor, and acknowledge in what way your story is going to help them achieve that goal.” This is where getting really familiar with the publication — and the editor — comes into play in a huge way. Editors can tell within a few sentences if a freelancer has tailored a pitch to the publication or editor, and that effort is always well worth it. Doing that will make your pitches stronger, and your success rate will increase.

‘Problems’ with a story aren’t really problems as long as you talk about them; then they’re conversations

Communication is soooo important, y’all. “Problems” only become actual problems when you don’t bring them up, or wait until you file to mention that things didn’t work out as you both had planned. Stories fall apart! Sources disappear! The reporting can lead you in a completely different direction than you expected! None of those is necessarily bad. They’re just part of the process, and they’re inevitable.

If you realize your story is morphing into something you didn’t plan for, just shoot your editor an email and let them know so you can course-correct and figure out where to go from there. Editors expect it, it’s not a reflection of your abilities, and a lot of the time it can turn into a real benefit for the story. Of course we want the story to follow the reporting, and not the other way around; we’re here to help you figure that out. We’re all on the same team working toward the same goal: making this story the best possible version of itself it can be.

Having ‘extra’ stuff for your story is cool — just know the right way to give it to your editor

End up running over your word count for your commissioned story? No worries, we’ll figure it out.

First, if you truly do need the extra space to tell this story, tell the editor as soon as you realize it. (Again, it’s not a problem if you mention it.) The last thing you want to do here is file 2,400 words when you both agreed on 1,700, so just mention it.

The more nuanced variation of this is when you have great stuff that doesn’t quite fit with the first draft of the story but that could still have a place. This is a good position to be in! You’ve done the requisite culling of your reporting, and you’re including a tad extra outside of the draft itself just in case. Often your instinct will be on the money if you think that extra stuff doesn’t totally work — right now. But that doesn’t mean it doesn’t have a place. If you think it may eventually fit, include it somewhere in the draft, just not directly in the story.

Laura talked about one instance in which a freelancer filed right at word count, but had this one anecdote they included as an “in case you want it” addendum. Sure enough, Laura wanted it.

To put it bluntly: The freelancers we love actually give a shit

That pretty much sums it up. Care about your story, care about the process, and care about making your story the best it can be. Your editor does, too.

Oh, a few other things …

• Get a pitch commissioned recently? I want to see it! I’d love to feature you and your #pitchesthatsold in an upcoming series examining great pitches that resulted in stories. Let’s see ’em!

Email me

• Got a question about freelancing or the wider world of journalism? Let’s hear it, and I may feature it in a future Q&A post! Drop your questions, comments, and thoughts about freelancing and journalism in general in a comment below, or email me at tim@freelancingwithtim.com.

Leave a comment

• More from Intro to Freelancing Month:

For all of August, new subscribers can take 25% off a yearly subscription to FWT! With a paid sub, you’ll get an additional newsletter every week, 50% off all workshops and Zoom events, access to the all previous paid posts, invitations to subscriber-only events, and more. Click here to get your discount!

Hello friends, and welcome to the second post in our Intro to Freelancing series this month!

As we all know, there are a million ways to trip yourself up as a freelancer, with many of these missteps attributable to simply not knowing you should or shouldn’t do that. A vast, vast majority of those are easy-to-fix mistakes that are much simpler than you might expect, and avoiding these common slip-ups can really set you apart from the crowd.

Here are nine of the most common ones to avoid. And, as always, everything below is a guideline and not a rule — there are veeeery few hard-and-fast rules in freelancing. (Though there are a few.) So with that in mind, let’s dive in!

Read more

Hello friends, and welcome to FWT’s Intro to Freelancing Month!

All month we’re getting back to basics. Each newsletter in August will focus on a different aspect of getting into and thriving in the freelance life, generally focused on newer freelancers (or just anyone who wants to up their game). We’ll cover smarter ways to use social media in your work, avoiding common mistakes that can sink you, dealing with finances, setting up productive workflows, and much, much more.

With that out of the way, today we’re covering some of the fundamental tools and strategies we all need to know and use.

First things first: Build your foundation

Get in contact with editors

Start, or keep, contacting editors at publications you want to write for and introduce yourself. That’s it! Don’t overthink it, and definitely don’t send a pitch. This is just to say hi and let them know you exist and are open to work. I recommend Twitter or LinkedIn DMs, cuz no one likes email. Some things you might want to ask about in your initial conversations:

• Are they taking pitches at the moment?

• Do they have pitching guidelines?

• What are they looking for in a freelancer?

• What is the best way to pitch them?

• What stories are they not looking for?

• Is there something they’re missing in their newsroom a freelancer could help with?

Create a plan to get those clips

This is an exercise I often do when I work with new freelancers in my one-on-one sessions, because it can be a clear and specific path to building up your portfolio. But it really can work for everyone.

Start by drawing up a list of 10 to 15 publications you would love to write for in the next, say, 12 to 18 months. Start reading them religiously to get familiar with their coverage, stuff they’ve done in the last few months, the tone and style of their stories, and just a sense of who they are. Next, try to identify gaps in their coverage you could potentially fill. (Even better, if you know the specific section within that publication you want to write for, do all of the above for that section.)

Really drill down and read the archives. Find where their news gaps are, and start generating story ideas you can pitch to plug those gaps. This can be a super efficient way to start building up your portfolio (and yes, you need one; more detail on this in the pitching section).

Network like craaaaazy

Your best resource as a freelancer is your network, so start building it ASAP. Like, seriously, these are your co-workers. As independents we don’t have the infrastructure or institutional support of a newsroom, so your support system is your freelance network.

• Network horizontally, not vertically: Find peers who are generally in the same career stage as you. Those people will be your foundation, and finding people going through the same things you are at the same time will provide a much stronger and more supportive network, as opposed to finding the most famous journalist you can and seeing if they’ll respond to your DMs.

• Freelancers are very open and willing to share, so don’t be shy. Some starter questions:

  • How did you get started in freelancing?

  • Which publications do you write for?

  • How do you write your pitches?

  • Can you show me a successful pitch of yours?

  • Do you mind sharing your rates?

  • Who are you reading lately?

  • Who else should I speak with?

  • Are there editors you’ve loved working with I should reach out to?

• See if you can really connect with one or two freelancers you really admire and try to cultivate a mentor/mentee relationship. (Here’s where those famous journalists can come in!)

Pitching and working with editors

Get good at pitching

This is the most important thing you can do for your freelance career. In a nutshell: Be concise, get to the point, and give away the goods right off the bat. A pitch has one job, and that’s to get your story sold.

• The only pitch format you'll (mostly) ever need

• 100+ pitching guides for NYT, Vox, NatGeo, Wired, Vulture, Politico, WaPo, Wirecutter, Slate, and more

• Answers to the 8 most common questions about pitching

• How to stop pitching ideas and start pitching stories

• The exact text of a pitch I sold to The Atlantic

• Why you should pitch the editor, not the publication

• The only 4 unbreakable rules of pitching

• How to successfully pitch The New York Times (or, well, anyone else)

Editors are people, too

We’re just doing our jobs out here, and we definitely don’t have all the answers. (Or sometimes, any of them.) One thing to remember: just ask. No matter the topic — edits, money, contracts, story development, workflow, general advice — your editor is there to help you shine, and they want you to be happy. So just ask!

• If finding an editor to pitch is difficult, figuring out what they really want is nearly impossible. Here are some guidelines to help you meet them in the middle: What editors are *really* looking for

• Follow up! Here is when — and how — to do it

• Don’t intimidate yourself out of pitching a major publication. If you have a great idea, swing for the fences. Your background/history/clips/portfolio/education/etc. matters a lot less than you probably think it does. Editors want great stories, no matter where they come from. If it’s not in the cards, let them reject you; don’t reject yourself before you even give yourself a chance.

• How to get on an editor’s “regulars” roster: Consistency, reliability, and delivering what was agreed upon. And communication is key: Any “problem” isn’t really a problem so long as you talk about it; then it’s a conversation. It only becomes a problem when you don’t mention it.

Leveling up: money and workflows

Track your work

• Don’t overthink it, just keep track of everything you’re pitching and what’s been commissioned, along with your money! Here’s a great system from a former writer of mine.

Speaking of money …

This is a tricky one. Rates vary by publication, story, editor, timing, scope, and most important, budget. A lot of the time it’s out of your editor’s hands and has nothing to do with you or your story. But you should still ask!

• How to ask for more money — and actually get it. A few things to remember:

  • It’s not weird, unprofessional, or rude to ask for more money. Editors expect it and good editors want to pay you more. Sometimes the only way to get it is to ask.

  • Keep it simple and casual, but firm. You’re not doing this for fun, even if it is fun; you’re doing this to pay for rent and groceries. It’s okay to want more.

  • Keep asking if you don’t get it. They may not be able to give it to you for this assignment, but maybe the next one or the one after that the budget will be there.

• Talk to your network and ask what they’re making. Rates are notoriously hard to figure out, so your best bet is to just ask other freelancers what they’re making. (Freelancers love to talk about this, so they’ll be glad to open up.)

Good luck out there!
-Tim

Oh, a few other things …

• I offer one-on-one coaching! Need help developing an idea or sharpening one you already have? Want a seasoned eye on a pitch you’re kicking around? Interested in talking about careers and building your freelance business? Maybe just want an edit on a story draft? I’ve got you covered! Click here to book a one-on-one coaching session to talk about pitch reviews, story development, editing, careers, and anything else you might need help with.

• Got a question about freelancing or the wider world of journalism? Let’s hear it, and I may feature it in a future Q&A post! Drop your questions, comments, and thoughts about freelancing and journalism in general in a comment below, or email me at tim@freelancingwithtim.com.

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• More from Intro to Freelance month: