“I started freelancing in 2001, after I realized I didn’t want my career to be in tech support! I had been a Law Enforcement Explorer (a Boy Scouts of America program) in high school and college, and as I contemplated becoming a writer, I realized police work was probably what I was best qualified to write about.

At the time, prior to 9/11, the big topic was school security. So I pitched an article about school resource officers in small towns. It ran in October — the month after 9/11 — and not too long after, I got a bunch of contracts through 2002.”

“Nothing formal. My degree is in Economics, but policy doesn’t figure too much into street-level police work! I had a good understanding of the fundamental issues police officers and departments were facing, so I let that drive my “6 questions” during interviews.”

“Most trade magazines are struggling along with everyone else in the publishing industry, so I don’t think writers should expect to be immediately successful. However, I do think the time-tested strong, relevant query still counts for a lot. My first query had four positive responses because it was relevant to an important topic of the day, and it formed a basic outline of what I planned to cover.

If writers can/should be doing anything differently, it’s developing relationships with sources and editors via social media. I joined a law enforcement listserv when I started — now there are Ning groups like CopsOnline and Police Pulse. It’s also possible to get to know editors, sources and PR people via tools like LinkedIn and Facebook. (Trade magazines are often advertiser-driven, so the advertisers’ PR people are important to get to know.)”

“1) It’s about the relationships. With editors, with sources and PR people. These are the people who will support your career, who help build your reputation. Stick especially with those you “bond” with. They bring the best opportunities, whether in the form of other sources or great stories.

2) Relationships take time to build. Starting out, I found it hard at times to work in a vacuum of no feedback. But I kept getting contracts, and not long after that, I found sources who talked to me because they liked what I was writing. I would say it took a good year to start building a strong reputation.

3) Be prepared for life contingencies. When I was pregnant with my first child, I figured I’d jump back into freelancing 6 or 8 weeks after his birth. I’d do interviews during his naps and type one-handed while holding him. Easy, right? Well, I never anticipated he would have severe acid reflux (try working on a computer around that!). I was more like 6 months out of work.

With my second, I took closer to a year off because I had them both at home full time. And neither one of them was ever a great sleeper, so I actually took on more editing during that time. I think that flexibility was key — it kept me sane, improved my writing skills, and kept me earning, even if it wasn’t my ideal work.”

“I had a day job working for the story editor / producer on an animated series as his writer’s assistant. As soon as I found out there were freelance slots open, I went in with 10 premises and pitched to him. I sold three in the room, wrote them, and got into the Writer’s Guild. It seems so simple when I read how it happened to me, but those three sentences took 5 years of plugging away, working for pennies on the dollar, skimping and starving to achieve my goal. But, ultimately, I did and when I saw my name up there, when I held my WGA card in my hand, it was all totally worth it. “

“I went to NYU’s Tisch School of the Arts’ Dramatic Writing Program, and I graduated with a dual BFA in Television and Screenwriting. When I first graduated from NYU, it seemed like that was enough. “Oh, she must be great, she went to NYU…” but it turned out that where I went to school was really of little relevance. NYU had me believing that “they” (the producers of the world) were handing out sit-coms at LAX to every New York transplant. That just wasn’t true.

While being an NYU grad helped people recognize I had some worth and an excellent education, the only thing that really mattered, as far as my screenwriting was concerned, was what was on the page. And if my samples weren’t impressive, the door was closed to me.

The only education that really helped me progress was doing. By producing an indie film in 1999, I learned I knew nothing. I didn’t know my ass from my elbow, but when you’re in charge of a 20 person crew and they’re all looking to you for the answers, you learn on the job. Screenwriting is the same. You don’t get to be a better writer by only doing it once. It takes years to develop a voice, a style, a concise and inventive way to tell a story that is both marketable and innovative. That comes with practice.”

“How I started was a total accident and something that couldn’t be repeated again one in a thousand times in a lab. I moved to LA from NYC with $2500, a dog and two suitcases, and didn’t realize that my plan for Hollywood greatness was completely filled with flaws. I had no plan, which was the problem. I had three contacts, some basic street smarts and an NYU Screenwriting BFA. It didn’t occur to me I would need more, not being the progeny of a well-connected picture family. But I did.

I had many weird jobs; I sold shoes, was a phone psychic (I was actually pretty good), and then I got a production job as a receptionist on a television series. I met a writer’s assistant who told me that she temped when things were slow. She gave me the name of her temp lady. The show was cancelled two weeks later and three weeks after that I was temping at Saban Entertainment. I got my first “writing” job there, writing kids’ jokes for a game they were marketing. I was paid $500 for 1000 jokes, that plus my salary. I felt like a millionaire.

I went on to temp for a brief time at Universal in marketing, but they weren’t quite about me. I then went to Warner Bros. TV Animation to fill in because a writer’s assistant had become a writer and they needed someone who could “type under pressure.” My one week assignment turned into the start of my career. I got an agent while working at Warner Bros, I got a writing partner, I got many opportunities to pitch and be mentored, and when the time was right, I got my first job. But it was, what I like to call “a confluence of positivity;” a fancy way of saying “right place at the right time.”

But if I were to do it over again, I’d probably do it the same. I’m not a good planner. I’m sort of “It’ll work out” kind of gal, a fly by the seat of her pants life adventurer. If you are looking to not live every moment on the edge and want something more stable, then I would think things through. You have to make a living to support your writing habit. It’s going to take a while for you to break in and start making money, if you ever even get to. So, figure out what you can do and do it, all while plugging away to make sure you achieve your dream. Tenacity is the biggest hurdle for the new LA screenwriter. If you can keep going, even through the lean times, and still have to tell stories just to scratch that burning itch to communicate, then you’ll make it.”

“You are you and you’re not anyone else. I know that sounds like “high talk” but it’s serious. Wanting to be a Hollywood screenwriter means that you no longer can measure your life based on someone else’s yardstick. I don’t care about your mother’s friend’s daughter Susie who is a lawyer now, with 2.5 kids, a house with a yard and is making $150 K a year. Susie isn’t a screenwriter. Her life’s achievements are ticked off differently than ours. My parents can’t understand why it’s still so hard for me to get work, when I’ve already been produced. I explain to them, it’s not for lack of effort. I do something everyone in the world wants to do and thinks they can do better. If I had put this much effort into being a NASA scientist, I’d have colonized Mars by now. But there’s only so many shows, and there are so many writers, writers better than me, writers worse than me, writers better connected than me. You’re most likely not always going to get the job. When you get the job it’s great. You need to decide what matters to you, find your own path and get it done. It’s not a lifestyle for everyone, but if it’s for you, then you can’t care what other people think. Just do your best writing every day, strive to improve, never give up and you’ve already succeeded.

Also, I did learn that all the best networking in the world isn’t going to make money come through the door, if your script isn’t spectacular. I feel the work is the most important thing. Do no write checks your ass can’t cash. You can’t talk yourself up as the greatest screenwriting talent in the world and not have a single sample to show someone. You should have a sample in every genre, because people are weird and they might need to see something specific. For example, my portfolio has some multi-purpose specs, but I wrote one for almost every hit show (Entourage, Two and a Half Men, My Name is Earl, Drawn Together, The Office) my first sample was a Mad About You. I found it recently when I moved. I cringed fearing it was terrible, but it was typo free and showed promise! I was pleased. It read like them and that felt good. So, just keep in mind that while you might love Entourage and your Entourage spec, someone needing a sample might hate Entourage, but love Drawn Together, so best to be prepared. Oh, a little tip, a 22-minute adult animated spec can count for two, both a half hour sample and an animation sample. Getting double out of your spec buck, is a good thing. You only get one chance to make a good first impression, do that by actually having a script ready, better yet a library, so whomever you deal with knows you’re serious and have the capacity to churn out the pages. Make sure it’s not only excellent, but it’s polished, professional and as typo free as humanly possible.”

“By accident. In the early 1980s I was writing romance novels for a British publisher (MacDonald Futura) and running a business as well. I considered myself a novelist. When I was growing up, I thought that all “real” writers wrote books, so I wasn’t interested in other forms of writing. The happiest day of my life was when I received a phone call to tell me that my first book had been accepted.

So I was happily writing novels, and running this business; it was a dog training operation. We were spending way too much money on straight advertising. I decided we needed publicity, and wrote some press releases, which brought in lots of customers. From then on, business colleagues and acquaintances asked me to write their publicity and advertising, and my copywriting career was launched.

For many years, all my copywriting clients came to me by word of mouth. Looking back, this was a good thing, because I knew the people, knew what they sold, and knew their businesses. This made writing copy easy; doing research before I wrote was automatic; I just talked to my clients. That became an excellent habit. Many new copywriters skimp on the research phase and write copy before they know the product they’re selling, and the copy suffers for it.”

“Formal education-wise, the best thing I ever did was to take a marketing course. It took a couple of years of evening classes.

Experience-wise, for many years, the only copywriting I did for others was copywriting I was doing for myself. In the early years (1980s), I wrote advertising and press releases; I was doing it for the business anyway, and did it for others too.

This helped me to get very comfortable writing copy and testing it.”

“Start off by working out what kinds of copy you want to write. Copywriting is a huge field. I begin my “Seven Days Copywriting” product by saying that copy is all around us, from the time we wake in the morning (spots on the radio, commercials on TV and the Internet, product labels on toothpaste, copy on cereal boxes…) until we fall into bed at night. Therefore, a new freelance copywriter needs to work out what kinds of copy he wants to write.

Once you know what you want to write, you can get an education in that. If someone who wants to freelance as a copywriter is already a writer, that’s a big help. Then you can write your own copy (as I did and have always done), and once you’re happy that you know what you’re doing, you can write copy for others.

There’s a HUGE market for copywriting, but most business people have a limited understanding of copywriting — many aren’t even aware that they can hire people to write their marketing collateral.

The Internet means that just about anyone can get hired to write copy, so it’s just a matter of learning, and you can earn while you learn.

As well as being a huge market for direct-response kinds of traditional copywriting, the Internet’s throwing up new opportunities all the time, especially in the audio-visual field — you can get hired to write video and audio scripts, as well as to maintain pages on social media sites like Facebook.

Learn and earn — that’s the best advice I could give anyone who’s thinking about taking up freelance copywriting.”

“Firstly, get comfortable selling. I’ve always found this easy, because when I started, I was focused on something else — the business I was running. I knew we provided a great services, and was focused on telling people about it. Selling came easily. Then I was focused on helping other small businesses and writing copy for them — and again, it was easy, because I could see that their products/ services were brilliant, and I loved getting the word out.

So being comfortable selling [is] vital, but it’s easier said than done. I know this from my own experience. I’ve always been great at marketing for others, but for most of my career fought shy of marketing myself. I didn’t have to do it — until around 2001, I was always too busy (writing books, magazine articles and writing for my copywriting clients) to worry about it.

Then the tech wreck happened, and suddenly many of my magazine clients vanished. I decided I’d make up the difference in income with copywriting clients, and that meant marketing, but it was hard — I had a visceral disgust about saying to people “I’m a great copywriter, hire me!” Which was funny, in a way; I was happy to market others, but very reluctant to do it for myself. So I forced myself to do it, and do it, and finally it became fun.

That’s the secret: if you love writing and want to write copy, but hate selling, just face it, and do it anyway. I promise that it WILL become fun for you, and you won’t look back.

Secondly, realize that your clients NEED you, and that they’re intimidated by you. This is a revelation to most new copywriters. They’re comfortable with words, and don’t think it’s a big deal, but most business people are not comfortable with words. They struggle even to produce a brief, let alone write copy. So if you’re a new copywriter, realize that your clients can’t do what you do, and moreover, they’re leery of you. They think skill with words is spooky — it’s witchcraft. New copywriters get lots of confidence when they realize that their clients need them.

Thirdly, be honest. When you’re new to copywriting, admit it. People will help you. You should always be honest in your copy too — if you think a product stinks, don’t take the gig. If you’re lying in your copy, people will know. This is the reason people talk about “hard sell” and “cheesy” copywriting. They know that the copywriter’s lying. Real copy vanishes — it’s completely transparent. If people read your copy, and feel uncomfortable, it means that the copy is lousy. Your own discomfort shines through. Be honest — there’s no other way to write good copy.”

“I started writing novels when I was eleven, but it wasn’t until years later that it finally dawned on me that I was creating novels only for myself and wasn’t truly thinking about publishers’ and readers’ needs. So I started from scratch, cold-bloodedly studied the market, targeted a genre in which editors were aggressively buying, and came up with a fresh angle. These were my Jane Stuart and Winky mysteries–cozies featuring an amateur sleuth no one had done before: a literary agent. I created a proposal and within a month had a three-book contract. I’m currently at work on my tenth novel, which will be published in late 2010.”

“I’m constantly reading cozy mysteries to see what’s being done and what isn’t. That’s the most important kind of education–knowing the market inside and out. Experience helps, of course (I based my first series on my own experience as an agent), but thorough research can take the place of experience. My current series, the Hidden Manhattan Mysteries, feature a New York Sanitation Department supervisor. I’ve had a ball researching–touring SDNY garages, interviewing personnel, and so on.”

“At any given time it’s important to find out the genres in which editors are currently actively buying. Of course, the genre also needs to appeal to you. Right now, for example, paranormal is huge, so fresh ideas in this genre are welcome.”

“1. You will probably not be able to make a living solely from your writing any time soon, if ever.

2. It takes a while to build a readership, so you must be patient and keep at it.

3. There may be times when you have to change course–start a new series, change your name, change publishers. It’s how this business goes.”