Getting Examples & Scoring Samples, Or: Show Me The Funny!
By Rusty Fischer

The Author of FREEDOM TO FREELANCE Reveals How-To Give an Editor Just What She Wants By Reading Examples & Samples First.

As a working freelancer, you’ll quickly find that a lot of your initial effort and work will go into finding and obtaining a freelance job. From message boards to frantic e-mails back and forth between you and a potential editor, it can be a lot of work finding work!

But what happens when, by the time you actually sit down to start the job, you’re already exhausted from getting it? Don’t worry, now you get to do what you love: write! And whether it’s writing ad copy for Viagra or erotic stories for a Valentine’s Day Web site, you can make it as entertaining as possible because, by now, you’re a pro.

Here’s how to stay one:

When a new job starts, there are always expectations between an editor and a freelancer. You assume that the editor knows what he’s doing, the editor assumes that you know what you’re doing. After all, you queried, rallied, applied for, and got the job, you must be good, right? Well, the truth is, good isn’t always good enough.

Every project has a certain tone or outcome that the client, publisher, or editor is looking for. Middle grade historical non-fiction is as different from a Goosebumps book as night and day. Certain clients detest certain words, and embrace others. But how are you supposed to know which is which?

Often, an editor has been working on a project for months, possibly years, by the time the two of you get together. How are you supposed to catch up the day you sign on the dotted line? By osmosis?

Therefore, if an editor is not forthcoming with samples from the project you’ve been hired for, ask for them yourself. And ask until you get them, or something resembling them. Often, an editor has no samples. A project is in development and hasn’t been approved yet, the project is in test or start-up mode, or the product hasn’t come back from the printer yet. Still, even if the samples you receive are text-only, which is all I was able to send my poor freelancers, they’re better than nothing.

Samples are fine, but often they don’t answer all of your questions. For instance, editors often work on new projects with only old samples from old projects to send you. Perhaps, an editor has just wrapped up work on a similar project that has to do with cows, when you’re writing about zebras. In this case, the editor will probably send you a piece on cows, with a cute little sticky note saying something extra-helpful like, "Replace cows with zebras, natch!"

Hey, it may not be perfect, but at least you asked. Always ask! Editors are busy people, as are freelance writers. Asking questions just short circuits a lot of assumptions that would otherwise go unsaid. If you don’t know the word count, ask. If you don’t know what an ellipse is, ask. If you don’t know what third person possessive is, ask.

Sometimes editors sound brusque, clipped or short. That’s often because while they’re talking to or e-mailing you, they often have six other people on hold. They want you to do the best job you can do, trust me. It’s less work for them and a better project all around. Often, asking questions is the only way to achieve perfection.

When a project is in development stage, or even undergoing a face lift, as is the case with many Web sites or new publishing ventures such as anthologies or ‘zines, editors are often just as in the dark as their freelancers are about what they’re looking for.

For instance, often a publisher will agree to a book that’s still in production, or to a series based on a great pitch by a book packager or team of writers. Naturally, all they have to go on is a great idea and a few killer pamphlets from Kinko’s! As time marches on and the work begins to actually appear on an editor’s desk, however, it sometimes looks very different from what was proposed.

Occasionally, it’s even better. So let’s say an editor hired you in the beginning stages of the project, when the material was going left, but now wants you to change to go right? In this case, neither samples or examples are going to help you. You need a comparison to go on, since nothing actually exists yet!

When I find myself in this situation, I love to pretend I’m some big Hollywood exec pitching a producer on a new film: "It’s Freaks & Geeks meets The Exorcist," or "It’s Charlie’s Angels meets Home Alone!" If you’re editor doesn’t have aspirations of being the Weinstein brothers, however, do the comparing yourself by asking questions about other books, articles, or styles you imagine she might respond to.

Bottom line? If there are no samples or examples to peruse, it’s up to YOU to find a comparison that makes the editor’s eyes twinkle. Otherwise, you’ll find yourself in Rewrite Land at the end of the project! Remember, there ARE no dumb questions. Especially after you’ve signed a contract.

Rusty Fischer is the author of FREEDOM TO FREELANCE, available at Writer's Exchange by clicking here. 

 

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