Sometimes it becomes necessary for a freelancer to let go of their day job. While I normally tout the usefulness of day jobs, there can come a point when you have enough work to make a day job superfluous. If you have reached such a point, congratulations! You have done what it takes to make yourself a full-time freelance writer! With this newfound independence comes great responsibility (meeting lots of deadlines can and probably will be tough, even for the best of us.)
Also remember that it is important not to rest on your laurels. Keep seeking additional freelance work until you absolutely cannot take anymore without missing deadlines. This ensures that you not only have the financial buffer to make up for/exceed the income your day job provided, but that you have a cushion against unforseen circumstances.
There are two critical things to consider before you leave your day job. The first is the most important: can I afford to leave the day job? You may encounter a strange situation that leaves you in the position of having lots of work, few hours to do it in and not enough money coming in. If this is the case, seek higher-paying gigs. The bottom line to consider is if leaving your day job will leave you in a financial void. If leaving your day job gives you more time but strains your budget, consider asking a fellow writer (spouses/significant others work great) for help. Most good friends or spouses, should they be of the writing inclination and have some spare time, will be more than happy to help you meet a few deadlines until such time as you can either get better work or cut down your day job's hours.
The second thing to consider is that you may have to go back to your day job. I know, that's the last thing you want to hear as you leave the office/store (or wherever) for what seems to be the last time and enter the world of full-time freelancing. But don't let it fool you; with the economy the way it is and with unemployment at an all-time high, that seemingly rock-solid gig can turn sour and leave you in need of the day job again. Mind you, there are alternatives to giving your boss the finger and never coming back.
Alternative 1: Ask for a reduction in hours. Most non-salaried positions will allow you to cut your hours a little. If you find this works with your freelancing schedule, do it. It lets you meet your deadlines while maintaining the benefits of the day job.
Alternative 2: Ask for a leave of absence. Again, most non-salaried positions allow you to take between one week and a month of two off without pay, and without losing your job. Doing so can be a little strange (and you may have to "develop" a sick relative) but it can buy you some time to get your freelancing life organized.
Alternative 3: Leave gracefully. If you absolutely MUST leave your day job, leave politely and be honest. Tell your boss that you are a freelance writer and have deadlines that must be met. Say you've enjoyed working for them (even if you haven't) and that you were grateful for the opportunity (again, even if you weren't) but that you must take your leave to pursue your freelance projects. Wish them well and give your two week's notice. Most bosses in the world will respond well to this sort of talk. They may not like it, since it means they have to hire someone else, but it's better than "kiss my ass you sonuvabitch, I quit!"
Once last word. Please, for your sanity's sake and to save on future headaches: really consider whether or not it is a good idea to leave your day job. It may seem like a good idea at the time, but sit on it for a while and sleep on it for a few nights. You may wake up one day and think "what the hell was I thinking, I can't quit my day job!" Just make sure you think this through before you do anything you'll regret.
Monday, December 29, 2008
Monday, December 22, 2008
Tips for Successful Freelancing #9: Cracking the SEO Code
If you've never heard of SEO, google it. SEO stands for Search Engine Optimization, and it is the writing term of the decade. Those who know SEO are making money hand over fist above the people who don't. I am one of those who is still learning about it and it's potential. It takes a little while to get used to, but learning how to effectively write SEO content puts you miles ahead of the competition in the freelance world. Here's why.
Search Engine Optimization is the art of keyword placement, keyword usage and careful crafting that gets your content listed higher on search engine results. Consequently, the higher the search engine result, the more traffic your content will receive and the more money you will make off of it. Most sites offer adrevs these days (adrev= advertising revenue; you get a cut of whatever advertising dollars your content makes.) The more people read your content, the more people will statistically click on the ads. The more people that click on the ads, the more sales the sponsors get. The more sales they make, the more of a kickback the website host gets and in turn, the more money you get. Mastering SEO writing is not just good for you; it's a chain that is mutually beneficial for all parties involve.
There are several things you can do to improve your SEO skills, the first of which is simply reading up on it. There are a ton of SEO articles on the net, simply googling "SEO" will get a nice big list of them. Once you've gotten familiar with SEO terminology, find a good keyword generator and start inserting some keywords into your content. No need to go nuts, just add a few here and there.
Good idea for an SEO-friendly article title: "Fallout 3: Walkthrough and Review"
Bad idea for an SEO-friendly article title: "Fallout 3 Walkthrough Review Release Date Official Site"
There is such a thing as "keyword spamming", whereby some fool attempts to publish "content" that is in fact just a jumble of keywords. Search engines are programmed to generally ignore this kind of tripe. However, a few tactfully-placed keywords can greatly increase your traffic and revenue.
Look at all the elements. There is more to SEO than just keyword-friendly titles. Meta Tags and Meta Descriptions of your content are also critically important to driving traffic to you. The Meta Tag is what a user sees when your content is displayed in a search engine and the Meta Description is the text the user sees beneath your entry in the results page. If this content catches the eyes, it will draw people in. If it is boring, stock dialog, it will either bring in few people or flat-out drive people away. Make the description and title interesting, stimulating; invite the reader to come in and take a look.
Marketing is not just a game for people in suits with offices anymore. Your average freelancer, armed with a little knowledge and a list of relevant keywords, can do some heavy-hitting marketing with relatively little investment. All it takes is some time to learn how to write SEO content and some practice doing it. Most sites you freelance for (if you post content online) have some sort of system for SEO, along with tutorials written by in-house experts. Read these, bone up on SEO. It's important.
Search Engine Optimization is the art of keyword placement, keyword usage and careful crafting that gets your content listed higher on search engine results. Consequently, the higher the search engine result, the more traffic your content will receive and the more money you will make off of it. Most sites offer adrevs these days (adrev= advertising revenue; you get a cut of whatever advertising dollars your content makes.) The more people read your content, the more people will statistically click on the ads. The more people that click on the ads, the more sales the sponsors get. The more sales they make, the more of a kickback the website host gets and in turn, the more money you get. Mastering SEO writing is not just good for you; it's a chain that is mutually beneficial for all parties involve.
There are several things you can do to improve your SEO skills, the first of which is simply reading up on it. There are a ton of SEO articles on the net, simply googling "SEO" will get a nice big list of them. Once you've gotten familiar with SEO terminology, find a good keyword generator and start inserting some keywords into your content. No need to go nuts, just add a few here and there.
Good idea for an SEO-friendly article title: "Fallout 3: Walkthrough and Review"
Bad idea for an SEO-friendly article title: "Fallout 3 Walkthrough Review Release Date Official Site"
There is such a thing as "keyword spamming", whereby some fool attempts to publish "content" that is in fact just a jumble of keywords. Search engines are programmed to generally ignore this kind of tripe. However, a few tactfully-placed keywords can greatly increase your traffic and revenue.
Look at all the elements. There is more to SEO than just keyword-friendly titles. Meta Tags and Meta Descriptions of your content are also critically important to driving traffic to you. The Meta Tag is what a user sees when your content is displayed in a search engine and the Meta Description is the text the user sees beneath your entry in the results page. If this content catches the eyes, it will draw people in. If it is boring, stock dialog, it will either bring in few people or flat-out drive people away. Make the description and title interesting, stimulating; invite the reader to come in and take a look.
Marketing is not just a game for people in suits with offices anymore. Your average freelancer, armed with a little knowledge and a list of relevant keywords, can do some heavy-hitting marketing with relatively little investment. All it takes is some time to learn how to write SEO content and some practice doing it. Most sites you freelance for (if you post content online) have some sort of system for SEO, along with tutorials written by in-house experts. Read these, bone up on SEO. It's important.
Monday, December 8, 2008
The First Few Pages
My first forays into writing began with screenwriting. Back in the summer of 1999, I was down on the Oregon Coast for the yearly family reunion. During this time, we stopped by the outlet mall, as we always do, to pick up a few odds and ends. I stopped into the bookstore and happened to find a copy of the Alien: Resurrection screenplay in the bargain bin. I bought it and read it, then thought to myself "this isn't so bad. I bet I could do this." Thus began my first screenplay work.
I wrote several full-length screenplays of varying quality during high school and college, then stopped in my Senior year of college after a disastrous incident in a Film Production class (our sound man attempted to rewrite my script.) I stopped for a little while, then began writing again. What follows here are the first five pages of my latest script, "Muse", in which a Japanese rock star goes on a soul-searching trip to Seattle in a desperate attempt to save her band.
Please enjoy and feel free to hit me with constructive criticism. Yes I know the format is goofy; the text editor here doesn't seem to be able to reproduce Final Draft formatting.
I wrote several full-length screenplays of varying quality during high school and college, then stopped in my Senior year of college after a disastrous incident in a Film Production class (our sound man attempted to rewrite my script.) I stopped for a little while, then began writing again. What follows here are the first five pages of my latest script, "Muse", in which a Japanese rock star goes on a soul-searching trip to Seattle in a desperate attempt to save her band.
Please enjoy and feel free to hit me with constructive criticism. Yes I know the format is goofy; the text editor here doesn't seem to be able to reproduce Final Draft formatting.
Muse
FADE IN:INT. AYA’S BEDROOM - DAY
AYA SAKAKI (mid twenties) sits alone on her bed, staring at a wall covered with photos she has taken of exotic destinations throughout Asia. She is dressed in a grey-striped pant suit that exudes both punk and business in the same glance. She has blue highlights, Costello glasses, a skinny black necktie and a green messenger bag that never leaves her side.
She is strumming on a well-loved black Fender Stratocaster and scribbling notes in a songsheet notebook. The floor is coated with other guitars and crumpled songsheets.
Aya tears off another page of songsheet, crumples it and throws it over her shoulder. She rests her chin on her hands as she continues to strum her guitar and stare at the pictures, attempting to gain some glimmer of meaning from it all. She fails; She has lost her muse.
There is a KNOCK from the door behind her. NOTE: Aya, Yuki, Ishiko, Hiro and Toyo will always speak to each other in JAPANESE, subtitled.
AYA
This better be good!
The door opens. YUKI HAYASHI, ISHIKO ASANASHI, HIRO SUZUKI and TOYO SAITO walk through. Yuki, Hiro and Ishiko are the members of Aya’s band, “Aki Phoenix.” They are all dressed in a style similar to Aya’s save Toyo, the manager, who is dressed in an ill-fitting business suit that is completely sans punk.
TOYO
Why didn’t you show up at the cafe? We waited for you.
AYA
I was busy.
TOYO
Well are you ready to go now? We have to get to the EMP interview, then we have a meeting with Nakamura, from the record label. We’re running late as it is.
AYA
All right.
Aya pries herself away from her exercise in futility and follows everyone else outside. She takes one last look at the wall before she walks through the door, hoping for that last-minute flash of inspiration. It doesn’t come.
INT. APARTMENT - NIGHT
GAVIN HAYLEY (mid twenties) sits on a stool painting a scene taken from a picture of Pioneer Square in Seattle. He wears a brown t-shirt covered in paint stains, ripped carpenter’s jeans, has hair just past his eyes and is scruffily handsome. He is surrounded by paint bottles, brushes, canvasses and is shadowed by a small Juniper Bonsai sitting by the window.
CAMERON BERNARD (early twenties) sits at the other end of the apartment. She is wearing the basics of a sharp business suit and is busy typing a memo for work. She stops to rest her eyes and looks over at Gavin’s painting.
CAMERON
That’s one of the best scenes you’ve done.
GAVIN
(doesn’t look up)
Thanks. I snapped the picture when I came out of Bakeman’s yesterday.
Gavin looks over and sees Cameron writing the memo.
GAVIN (CONT'D)
More homework?
CAMERON
If only it were that simple. Damn office politics, someone’s always pissed off about something.
GAVIN
Who is it this time? Tiberious Tim? Naughty Ned? Or was it Raging Ronnie?
CAMERON
None of the usual suspects. It was the new guy, from logistics. Thinks he’s better than everyone, that he doesn’t need to conform to company policy.
GAVIN
And they haven’t canned him...why?
CAMERON
Because he’s the division VP’s nephew.
GAVIN
I guess it really is all about who you know.
CAMERON
If I’d have had a relative to give me handouts, who the hell knows where I’d be now. Definitely not at Dynatech.
GAVIN
What would you be doing if you weren’t in asset management?
CAMERON
I’d draw.
GAVIN
(chuckles)
What? Since when have you had the slightest inkling in art?
CAMERON
I took classes and worked on comics with friends all through high school.
GAVIN
Then why the hell did you major in business?
CAMERON
Because there’s not a lot of money in comics. Asset management: whole different story.
GAVIN
So you’re a gold digger.
CAMERON
You know what Gavin, you’re right. I’m a gold digger. Shit, what am I doing here, I should be living in Vegas! Thanks to you Mr. Hayley, you’ve figured me out!
GAVIN
Why Cameron Bernard, if I didn’t know you better, I’d think you were being sarcastic.
CAMERON
Pain in the ass.
GAVIN
You know you’re crazy about me.
CAMERON
(semi-sarcastically)
No doubt.
Gavin smiles for a moment, then goes back to his painting. Cameron smiles at him a little longer, then goes back to her memo.
INT. CAR - DAY
Toyo and the band discuss their future while Aya looks out the window, distracted. The band is agitated, with rumors of their breakup flying around and some angry words being exchanged. It all floats right past Aya.
INT. EXPENSIVE SUKIYAKI-YA - DAY
The band enters a very expensive sukiyaki restaurant and stands in the entrance for a moment, expecting to be greeted by at least a few fans or at least a paparazzi. Nobody comes except the HOSTESS. Toyo speaks to her for a moment, then she leads the group to a quiet tatami room in the back of the restaurant. ISAO NAKAMURA (fifties) is waiting for them. He is a well-groomed man and wears a dark grey business suit that costs more than the average salaryman makes in a year. (Everyone speaks JAPANESE, subtitled.)
TOYO
(polite but nervous)
Mr. Nakamura.
NAKAMURA
Thank you for coming. Please sit down.
Everyone sits around the table. The air is tense until Aya breaks the ice by pouring tea for everyone. Nakamura looks relieved that someone else took the initiative.
NAKAMURA (CONT'D)
Let me tell you why you’re here. You’re here because the numbers are slipping. Record sales are down, concert ticket sales are slow and the new album has gotten lousy reviews from every venue we sent it to. It’s starting to look like Aki Phoenix is yesterday’s news. I don’t want that. I’ve invested too much in you kids to throw it all away, but if the numbers don’t add up to the people at the top, they’re going to make some cuts.
TOYO
(apprehensive)
What kind of cuts?
NAKAMURA
They’re going to cancel your contract. You’ve got a concert at Budokan in two weeks, the last one on the album tour. This is your chance to show that you’re not yesterday’s news. If you can do well at Budokan, it will show the label that you’re worth keeping. If the show doesn’t bring down the house, that’s it.
Plates of food start arriving, but the mood is too sour for anyone but Nakamura to eat.
NAKAMURA (CONT'D)
I want to see something new. A new song, a new set, I don’t care. I just need to have something to show the rest of the executives that you’re worth keeping. Can I count on this getting done?
AYA
(suddenly empowered)
Absolutely.
All eyes turn to Aya.
AYA (CONT'D)
We can do this!
NAKAMURA
I’m glad to hear it.
The band slowly starts to pick at the food, though no one feels like eating. Aya comes off her momentary high and is visibly questioning the wisdom of her proclamation.
INT. CAR - DAY
The band is sullen as the car takes them back to Saito’s apartment. Yuki, Ishiko, Hiro and Toyo are all exchanging despondent looks and avoiding the inevitable discussion of dinner. Aya occupies herself by watching Tokyo pass by outside. She looks as though twenty years have just been added to her life.
The car passes by a large ad for the JAPAN TRAVEL BUREAU. The ad runs a banner reading VISIT AMERICA! LOS ANGELES, NEW YORK, CHICAGO, SEATTLE! in huge letters. Aya notices the sign and her eyes light up. She knows what she has to do. She turns to everyone else with a glimmer of hope in her eyes.
AYA
(excited)
I’ve got it.
AYA SAKAKI (mid twenties) sits alone on her bed, staring at a wall covered with photos she has taken of exotic destinations throughout Asia. She is dressed in a grey-striped pant suit that exudes both punk and business in the same glance. She has blue highlights, Costello glasses, a skinny black necktie and a green messenger bag that never leaves her side.
TITLE CARDS OVER IMAGE.
MUSE
MUSE
She is strumming on a well-loved black Fender Stratocaster and scribbling notes in a songsheet notebook. The floor is coated with other guitars and crumpled songsheets.
Aya tears off another page of songsheet, crumples it and throws it over her shoulder. She rests her chin on her hands as she continues to strum her guitar and stare at the pictures, attempting to gain some glimmer of meaning from it all. She fails; She has lost her muse.
There is a KNOCK from the door behind her. NOTE: Aya, Yuki, Ishiko, Hiro and Toyo will always speak to each other in JAPANESE, subtitled.
AYA
This better be good!
The door opens. YUKI HAYASHI, ISHIKO ASANASHI, HIRO SUZUKI and TOYO SAITO walk through. Yuki, Hiro and Ishiko are the members of Aya’s band, “Aki Phoenix.” They are all dressed in a style similar to Aya’s save Toyo, the manager, who is dressed in an ill-fitting business suit that is completely sans punk.
TOYO
Why didn’t you show up at the cafe? We waited for you.
AYA
I was busy.
TOYO
Well are you ready to go now? We have to get to the EMP interview, then we have a meeting with Nakamura, from the record label. We’re running late as it is.
AYA
All right.
Aya pries herself away from her exercise in futility and follows everyone else outside. She takes one last look at the wall before she walks through the door, hoping for that last-minute flash of inspiration. It doesn’t come.
INT. APARTMENT - NIGHT
GAVIN HAYLEY (mid twenties) sits on a stool painting a scene taken from a picture of Pioneer Square in Seattle. He wears a brown t-shirt covered in paint stains, ripped carpenter’s jeans, has hair just past his eyes and is scruffily handsome. He is surrounded by paint bottles, brushes, canvasses and is shadowed by a small Juniper Bonsai sitting by the window.
CAMERON BERNARD (early twenties) sits at the other end of the apartment. She is wearing the basics of a sharp business suit and is busy typing a memo for work. She stops to rest her eyes and looks over at Gavin’s painting.
CAMERON
That’s one of the best scenes you’ve done.
GAVIN
(doesn’t look up)
Thanks. I snapped the picture when I came out of Bakeman’s yesterday.
Gavin looks over and sees Cameron writing the memo.
GAVIN (CONT'D)
More homework?
CAMERON
If only it were that simple. Damn office politics, someone’s always pissed off about something.
GAVIN
Who is it this time? Tiberious Tim? Naughty Ned? Or was it Raging Ronnie?
CAMERON
None of the usual suspects. It was the new guy, from logistics. Thinks he’s better than everyone, that he doesn’t need to conform to company policy.
GAVIN
And they haven’t canned him...why?
CAMERON
Because he’s the division VP’s nephew.
GAVIN
I guess it really is all about who you know.
CAMERON
If I’d have had a relative to give me handouts, who the hell knows where I’d be now. Definitely not at Dynatech.
GAVIN
What would you be doing if you weren’t in asset management?
CAMERON
I’d draw.
GAVIN
(chuckles)
What? Since when have you had the slightest inkling in art?
CAMERON
I took classes and worked on comics with friends all through high school.
GAVIN
Then why the hell did you major in business?
CAMERON
Because there’s not a lot of money in comics. Asset management: whole different story.
GAVIN
So you’re a gold digger.
CAMERON
You know what Gavin, you’re right. I’m a gold digger. Shit, what am I doing here, I should be living in Vegas! Thanks to you Mr. Hayley, you’ve figured me out!
GAVIN
Why Cameron Bernard, if I didn’t know you better, I’d think you were being sarcastic.
CAMERON
Pain in the ass.
GAVIN
You know you’re crazy about me.
CAMERON
(semi-sarcastically)
No doubt.
Gavin smiles for a moment, then goes back to his painting. Cameron smiles at him a little longer, then goes back to her memo.
INT. CAR - DAY
Toyo and the band discuss their future while Aya looks out the window, distracted. The band is agitated, with rumors of their breakup flying around and some angry words being exchanged. It all floats right past Aya.
INT. EXPENSIVE SUKIYAKI-YA - DAY
The band enters a very expensive sukiyaki restaurant and stands in the entrance for a moment, expecting to be greeted by at least a few fans or at least a paparazzi. Nobody comes except the HOSTESS. Toyo speaks to her for a moment, then she leads the group to a quiet tatami room in the back of the restaurant. ISAO NAKAMURA (fifties) is waiting for them. He is a well-groomed man and wears a dark grey business suit that costs more than the average salaryman makes in a year. (Everyone speaks JAPANESE, subtitled.)
TOYO
(polite but nervous)
Mr. Nakamura.
NAKAMURA
Thank you for coming. Please sit down.
Everyone sits around the table. The air is tense until Aya breaks the ice by pouring tea for everyone. Nakamura looks relieved that someone else took the initiative.
NAKAMURA (CONT'D)
Let me tell you why you’re here. You’re here because the numbers are slipping. Record sales are down, concert ticket sales are slow and the new album has gotten lousy reviews from every venue we sent it to. It’s starting to look like Aki Phoenix is yesterday’s news. I don’t want that. I’ve invested too much in you kids to throw it all away, but if the numbers don’t add up to the people at the top, they’re going to make some cuts.
TOYO
(apprehensive)
What kind of cuts?
NAKAMURA
They’re going to cancel your contract. You’ve got a concert at Budokan in two weeks, the last one on the album tour. This is your chance to show that you’re not yesterday’s news. If you can do well at Budokan, it will show the label that you’re worth keeping. If the show doesn’t bring down the house, that’s it.
Plates of food start arriving, but the mood is too sour for anyone but Nakamura to eat.
NAKAMURA (CONT'D)
I want to see something new. A new song, a new set, I don’t care. I just need to have something to show the rest of the executives that you’re worth keeping. Can I count on this getting done?
AYA
(suddenly empowered)
Absolutely.
All eyes turn to Aya.
AYA (CONT'D)
We can do this!
NAKAMURA
I’m glad to hear it.
The band slowly starts to pick at the food, though no one feels like eating. Aya comes off her momentary high and is visibly questioning the wisdom of her proclamation.
INT. CAR - DAY
The band is sullen as the car takes them back to Saito’s apartment. Yuki, Ishiko, Hiro and Toyo are all exchanging despondent looks and avoiding the inevitable discussion of dinner. Aya occupies herself by watching Tokyo pass by outside. She looks as though twenty years have just been added to her life.
The car passes by a large ad for the JAPAN TRAVEL BUREAU. The ad runs a banner reading VISIT AMERICA! LOS ANGELES, NEW YORK, CHICAGO, SEATTLE! in huge letters. Aya notices the sign and her eyes light up. She knows what she has to do. She turns to everyone else with a glimmer of hope in her eyes.
AYA
(excited)
I’ve got it.
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