I love freelance writers. I love how they work, how they collaborate, and how they, the good ones at least, will help someone they barely know.
So when Paula Hendrickson sent me a note saying her friend Rick wanted to post for Writers Worth, I knew instantly Rick was one of the good ones. His first note to me, in fact, was the post you’re about to read.
How could you not love a person who’s that damn giving?
Rick, I’m honored to have you here, and I’m looking forward to getting to know you better. You, sir, are welcome here any time.
Writers Worth: Hanging on and Letting Go
by Rick Schindler
I never set out to be a freelancer; I did it to fend the
wolf from my door. In recent years I’ve been fortunate enough to have a steady
day job, but in the days following 9/11, it was catch as catch can for quite a
while.
wolf from my door. In recent years I’ve been fortunate enough to have a steady
day job, but in the days following 9/11, it was catch as catch can for quite a
while.
I worked my contacts in publishing and took what I could
get. I copy-edited textbooks and wrote some pedagogy. That was often fun, and I
learned some interesting stuff.
get. I copy-edited textbooks and wrote some pedagogy. That was often fun, and I
learned some interesting stuff.
I also took on technical proofreading, rife with inscrutable
numbers and details. It was like proofing Linear B. I struggled through it
stubbornly until my wife begged me to let go of it.
numbers and details. It was like proofing Linear B. I struggled through it
stubbornly until my wife begged me to let go of it.
Eventually I landed a weekly magazine gig, on a topic where I
was on firmer ground. Even so, one week early on I made a careless fact error
and got called on it by a reader, angering the editor.
was on firmer ground. Even so, one week early on I made a careless fact error
and got called on it by a reader, angering the editor.
I never let that happen again. I hung on tight to that
column through 10 years and a motley procession of day jobs, making every
deadline and accommodating the caprices of three very different editors. When
the magazine finally reassigned the column to an inside staffer, they made it
clear it was for cost reasons and that they were sorry to let me go.
column through 10 years and a motley procession of day jobs, making every
deadline and accommodating the caprices of three very different editors. When
the magazine finally reassigned the column to an inside staffer, they made it
clear it was for cost reasons and that they were sorry to let me go.
I liked the discipline of a weekly column, its familiar
rhythmic heft. Even though it was a pain sometimes, I still miss it.
rhythmic heft. Even though it was a pain sometimes, I still miss it.
Around the time I started that column I also landed a
contributing editor gig on the same subject at another magazine. I liked that
work too, but it entailed a lot of time-consuming interviews and research for a
finicky editor, and it paid pennies. I had to let it go.
contributing editor gig on the same subject at another magazine. I liked that
work too, but it entailed a lot of time-consuming interviews and research for a
finicky editor, and it paid pennies. I had to let it go.
By now I’m sure you’ve caught my drift. When you work in an
office, there are people, often entire hierarchies, allocating resources and
prioritizing tasks, deciding what is and isn’t worth doing. But when you’re
freelance, there’s no one to make those choices except you.
office, there are people, often entire hierarchies, allocating resources and
prioritizing tasks, deciding what is and isn’t worth doing. But when you’re
freelance, there’s no one to make those choices except you.
And it isn’t as simple as just picking whatever pays most.
There are gigs you take to make contacts and establish a reputation; gigs you
take because you hope they might lead to a full-time gig; gigs you take to
protect your turf, or expand it; gigs you take to make deposits or withdrawals
in the favor bank; maybe even, every now and then, a gig you take just for the
hell of it, to put some energy into the ether and see what happens.
There are gigs you take to make contacts and establish a reputation; gigs you
take because you hope they might lead to a full-time gig; gigs you take to
protect your turf, or expand it; gigs you take to make deposits or withdrawals
in the favor bank; maybe even, every now and then, a gig you take just for the
hell of it, to put some energy into the ether and see what happens.
I never set out to be a freelancer, but writing this piece,
I looked back and was surprised to see just how much freelance I’ve done, how
many paths I’ve crossed, how much I’ve learned about many different things.
I looked back and was surprised to see just how much freelance I’ve done, how
many paths I’ve crossed, how much I’ve learned about many different things.
But perhaps the most important things I learned were about
how to weigh the value of my own work. And of myself.
how to weigh the value of my own work. And of myself.
Rick Schindler
is an editor/producer for NBC News Digital and author of Fandemonium, a
comic novel about the comics business. You can follow him on Twitter.
is an editor/producer for NBC News Digital and author of Fandemonium, a
comic novel about the comics business. You can follow him on Twitter.
10 responses to “Writers Worth: Hanging on and Letting Go”
Great story, Rick. Thanks for sharing it. I especially like when you reflect back, you realize how much you'be accomplished. That's an exercise we should all take. 🙂
Not quite sure what word you'be is. LOL! Or how I even typo'd it-head-scratcher – make that how much you accomplished.
Slip of the fingers, Cathy. Happens to me daily. 🙂
Rick, thanks again — great post!
I think what your post points out to me, Rick, is the transient nature of our jobs. Here today, gone tomorrow is how we freelancers have to think about every client and every gig.
You're so right about not basing decisions on price. Some jobs pay little, but require little effort. Some jobs pay a ton and expect more than humanly possible. The balance is somewhere in the middle.
Agreed. Price is only one component of a freelance writing gig.
Thanks for sharing your story, Rick. I especially like the bit about the advantages of different jobs. Money certainly isn't the only factor.
This is where I sheepishly admit I may have cajoled Rick a bit about contributing a post for Writers Worth Month, because he was one of the first editors I worked with (back in those pre-9/11 days) who really seemed to appreciate and value of writers. One of the reasons is because he's been in our shoes, too.
And speaking of those pre-9/11 days… Some of you might recall a story I've recounted here before about one of my favorite (and best paying) articles ever. It was about the odd hobbies and collections of cable executives. Rick was my editor for that. Every so often a cable exec or long-time publicist will still say, "Oh! I love that Cablevision article you did about odd hobbies…"
Thanks, Rick!
Wow, Paula, I'd forgotten about that hobbies story! You're right, it really resonated. My thanks to you and Lori and the other commenters for your generous words.
Loved your list of reasons to consider taking a gig, Rick. Every one of them is true. One of my favorite parts of being a freelancer is that I get to make the decision about whether a gig is worth it. Sometimes I'm right and sometimes I'm wrong. But it's always mine to decide, and even when I'm wrong, I get to learn the lesson for myself, rather than someone else dictating the choice (like the hierarchies you mention in your post). Experiential learning is sometimes a harsh teacher, but the lessons sink in faster that way!
Rick, thank YOU for your contribution here. I love it.
Ashley, amen! I've had some of those harsh lessons over the years.