Showing posts with label writing as a career. Show all posts
Showing posts with label writing as a career. Show all posts

Tuesday, 7 February 2023

First Contact, by Dawn McLachlan

 

Vulcan Captain "Live long and prosper, here's my card."
Zefram Cochran "Err..sure..but I don't have a wallet, I'm just going to put that...over here.."

Arguably one of the hardest thing to do these days is to stand out from the crowd. First Contact is incredibly important and so is being remembered. We can polish our pitch and get our small talk down to an elegant and practiced piece of perfect prose, but when we walk away what will we leave behind?

When I first started out and my first book was published I got myself a lovely business card holder and spent a pleasant afternoon designing my own cards. I was so excited to hand these out to people and, just out of interest, I made a little note of where I’d handed them out. I have a secret for you – none of those business cards resulted in extra work, but lots of them resulted in me being asked for favours or to work for free. This made me rethink.

I had a think about what I do with business cards in my professional life. As a librarian and literacy campaigner I was given hundreds and hundreds of business cards and I’ll be honest with you, most of those were just dropped into the bottom of my bag and only found again when the handle fell off and I needed to transfer my junk over to a new one. Sometimes I’d find a business card in my purse and spend a baffled moment staring at it trying to remember who had given it to me and when.

With my author hat on I wanted to have a think about where I was spending my hard-earned and whether or not it was good sense. With my librarian and bookseller hat on I had a look around my desk, my files, and my walls and thought about what I kept and what I threw away. For what it’s worth, here’s my two-pennorth…

Business cards are great for industry contacts and I’d say that you should spend a little bit to make sure they are attractive and on quality card. Beautiful ones go in the purse or wallet, cheap ones go in the bottom of whatever tote is being carried around that day. Make sure your business card has a tagline that says what you do (“author of non-fiction”, “YA and children’s author” etc) and that you have your socials listed on the cards as well as your website. Don’t cram it with information, just the bare minimum.

Flyers and postcards are your friends when it comes to contact with bookshops, schools and libraries. I would say that A5 flyers that are designed to look great when folded in half are lovely things. If you can stretch to double sided printing that’s great. One side should look like a little poster (preferably the cover of your book or artwork from the book) and the other has your contact details and a little bit of sales pitch about what you do. Once again, not too much information, just a teaser to take someone to your website or socials to find out more. I didn’t have time to read a whole load of stuff or to work out between the lines.

Personally, I would say that the thing I genuinely enjoyed being given was a postcard. I particularly loved cards that had space to write on and were thick enough to use as actual postcards. These ones I kept, pinned up on my wall until I used them to write notes for people or posted them out to others. Nice looking, cute, beautiful or funny postcards had lives that ran and ran because they went off on adventures beyond me but by then I’d looked at them so many times that I could remember the names of the authors and illustrators on them.

The attractive flyers, small posters and postcards turned into real money for their creators as these were the people who I booked for visits, recommended to others and remembered at events. They were the ones who I said, “hey, have you heard of this person?” because I'd seen their stuff, remembered it, liked it and bought it.

Spend your money wisely, and only on what makes sense, and you can be remembered. That’s what we all want – to be remembered, and with a smile.


Dawn McLachlan (aka Dawn Finch) is a former children's librarian and current author and bookseller.

Friday, 22 November 2019

Sustaining a Lifelong Creative Practice - Heather Dyer


Following a creative pursuit can sometimes be lonely and frustrating. Here are five books I’ve found particularly inspiring because they contain practical advice from other writers and artists who’ve ‘been there’:



David Whyte is a poet. Only indirectly about creativity, this book is about integrating our work, our relationships and inner selves in order to live a fulfilled and productive life. Writers often talk about finding 'balance' between day jobs, family and creativity - but Whyte's advice seems to be to knit them all together rather than think of them as separate. He includes nice examples pulled from authors’ lives.




Booth explores that small ‘pull’ that makes us want to make art in the first place, and shows us how to fan those flames. This book, ‘illuminates the artistry we all practice, and it enables us to reclaim the fun and satisfaction that is already happening unnoticed right under our noses’.




Creative Quest by Questlove

This book might best be described as a riff on retaining your creativity throughout your career. Questlove is a musician. One of the things he says is that, as emerging creatives, we are hungry to be influenced by others, but as we solidify our practice we become more concerned with influencing others. Stay open to being influenced, is his advice. I also like his description of what collaboration should look like: “Collaboration isn’t about what’s there so much as what’s not there. It’s the jigsaw puzzle with a few pieces missing and a pile of bright pieces nearby.”




This is an accessible how-to-sustain-your-practice guide for emerging creatives. The book is described as helping the reader ‘search memory for inspiration, understand his or her individual artistic profile, explore possible futures, design a daily process and build a structure of support.’ In the past I’ve drawn from this book for exercises for an 8-week ‘Developing Your Creativity’ course.   




Chase Jarvis is a photographer who now runs a successful online learning portal. The book includes a lot of advice about how to find your 'tribe', network virtually and in person, and market your work. 

What all these books endorse is listening to that early intuitive pull, exploring by doing, drawing inspiration from living, creating a regular practice (however short) and staying open to flow by letting go of expectations and setting out anew, each day, into uncharted territory. If you have your own recommendations, I'd love to hear them.


Heather Dyer is a consultant in writing for children. She provides writing and publishing advice through The Literary ConsultancyThe Writers' Advice Centre for Children's Books, and privately. If you’re ready for feedback on your work-in-progress contact Heather at heatherdyerbooks@gmail.com

Heather’s children’s novel The Girl with the Broken Wing was one of Richard and Judy’s book club picks, and The Boy in the Biscuit Tin was nominated for a Galaxy Best British Children’s Book award. Heather also teaches creative writing for the University of the Creative Arts, and facilitates workshops in creative thinking techniques for creatives and academics.




Tuesday, 10 September 2019

Managing money as a freelance writer – does it make you panic, too? Moira Butterfield


 Being a full-time writer is no financial picnic. It’s a tough career choice because there’s no monthly salary cheque. I compare it to the mental skill you need to walk along a cliff path - i.e.: keep going and don’t look down. Here are some of the things I’ve learnt about this tricky money thing. I hope it will make you feel less alone in this crazy choice we’ve made.

Don't look down 


1) Keep your accounts up together as best you can. If, like me, just thinking about money can make you feel a bit sick, this isn’t a natural piece of behavior. I’ve thought about getting one of those apps they’re advertising on TV, where you photograph your receipts and they go magically into a spreadsheet. Is anyone using such a thing? I actually get my partner to do my books, and my Mum once used to do them – basically because I’m so panicky about doing them myself. One way or another they do get ordered, anyway.This applies to part-time writers, too, of course. 

2) Keep writing earnings and expenses very plainly separate from your household accounts. This is in case you have to show the Inland Revenue. I’ve written before about tax investigations and I won’t bang on about them again, but assume it could happen to you and be prepared. If you can’t clearly show where money came from and where it went, you could be in for a bill.

3) Get tax investigation insurance because if you are chosen it’ll cost you in accountancy fees (unless you are very up-together on tax you will need them to come with you for interviews). Members can get it through the Society of Authors (and they also have a free tax helpline for members) or I get it through my accountant. I have been investigated twice, both times when my earnings went down due to childbirth. I think that the big swings in yearly earnings aroused their suspicions. They probably thought I was hiding money but I wasn’t. In the end they charged me for some opal fruits on a petrol bill and a £4.50 toy on a receipt but it cost me £1,000 in accountancy fees to prove I was clean (apart from the opal fruits).

4) Pay tax monthly or at least save it somewhere. The Inland Revenue now has a scheme enabling you to pay an amount of your choice by monthly direct debit – and you can stop and restart at any time or get the money back out (it's easy to set up online). By the time my tax bills come (January and July) I’ve just about cleared them. It’s a total godsend to me as I could never save in my own private account (I always found I needed it somehow), and I often used to have to borrow the money when the tax bill arrived. The way I do it now is a huge weight off my mind.

What I used to do with my tax 'savings'


5) On fee-paying writing jobs don’t allow publishers to delay paying your invoices past the end of the month after the month invoiced (ie: 30 days, effectively). If they haven’t coughed up, ring their accounts office (or get a confident friend to ring and say they are your financial advisor working on your accounts – Mum used to do that, too). On work that is invoiced through an agent it will be up to them to chase payment, but I’m sure it would be worth reminding them if what you were expecting doesn’t turn up.

6) When working direct with publishers don’t accept payment excuses such as ‘we can’t find your invoice’. Scan it, email it and ask when payment will occur asap, as this is not your mistake.

7) Always check stage payments carefully in a contract. Are they weighted the way you want? You’ll need a fair amount up front and less at the far end because you need to eat. If accepting a fee-paying contract I would never agree to delaying any payment to publication date, as you will have no control over it. On royalty contracts I do accept that because I have a more ongoing interest.

8) Don’t start comparing your earnings to other people in different professions. That way lies madness. If you make the choice to be a full-time writer, own it.

9) Remember that you are not alone. There are lots of us out there on that cliff path, ready to listen. I know that the Society of Authors has a hardship fund, and though I’ve never used it, I have in the past been in a position perilously close to needing that helping hand. That’s why I have such a difficult relationship with this subject. I would personally prefer never to think of money again, and instead think only of words, but I know I have to face it every year, and so do you. Let’s do the best we can.

It's not easy dealing with this, but we're not alone. 


Moira Butterfield
Twitter @moiraworld
Instagram @moirabutterfieldauthor 

For tax advice and insurance be a member of:

https://www.societyofauthors.org