Ashton Rice

The One Tool No Ghostwriter should be Without

The One Tool no Ghostwriter should be Without

By Ashton Rice

Ghostwriting is a way to hone your craft quickly. While getting a grasp of where your style fits in the world of literature, using your skills as a writer is the best way to get better and stay sharp. With constant assignments and the back-and-forth communication with clients, it can become difficult to maintain a healthy workflow. The work is something any aspiring author appreciates and most are ready to rise to the challenge. Let’s be honest though, it can be a lot to juggle.

At times, you’ll find yourself writing for one editor on weekends, and another one on weekdays. Each has slightly different preferences, so at the very least you’ll need to make sure that the grammar, spelling, and syntax of your work is correct and flawless. As your fatigue kicks in, you find yourself sending poorly reviewed writing to your editors, leaving them upset and confused as to why such a talented writer suffered from such simple mistakes.

Every writer should use automated editing software, like Grammerly:

One thing that every writer in the 21st century should be using is Grammarly (or any automated editing software, I’ll use Grammarly for convenience and consistency). This used to be a discussion and debate of skill and inadequacy, but now, it is simply the more efficient way to review writing. Grammarly is the most efficient way to get your tired writer’s eyes on mistakes that would be easily overlooked otherwise. This program saves you precious time on projects and highlights basic errors and mistakes as you write. That’s kind of the beauty of it. While Grammarly will catch most issues in your writing, it still leaves the option to correct to you. So, if you are a particularly stubborn writer, this is the tool for you. As opposed to automatically changing mistakes, Grammarly brings them to your attention and lets you act on them yourself. Even if the settings are too casual–or even too professional–Grammarly allows in-depth customization for writers of every level.

 This is a tool you don’t want to overlook:

Putting off installing Grammarly is a mistake. This is a free resource that doesn’t suffer from fatigue or apathy. This program is always on its A-game and gives you the ability and time to focus on writing the best content you can produce. Feeling like you missed something after re-reading your document for the twelfth time is a horrible feeling. It is even worse when you hear from the editorial staff that your review wasn’t thorough enough.

Let Grammarly do the grunt work of finding flaws in your writing. Again, it’s free and allows you to be less focused on straining your eyes because you missed an ‘i,’ and lets you worry about your style, and what makes your writing unique. Don’t send a poorly reviewed document to your editor; let Grammarly help you find those pesky little errors and give you one less thing to worry about.

About Ashton Rice:

As a sequential art major out of SCAD, Ashton began writing as an intern editing for The Borgen Project. He learned valuable experience as an editor and writer while taking on this role, and discovered a passion for writing and sharing information and ideas through written language.

Ashton now writes for SOLRAD Magazine and Write-On e-Publishing. His passion for comics still persists, and he continues to write and illustrate his own comics while studying up and coming alternative artists for reviews and interviews for the SOLRAD Magazine. Ashton favors writing science fiction as well as contemporary fiction in his personal work.

Follow Aston Rice on Instagram at: https://www.instagram.com/ashy.rice.art/

Paul Deines

How I Make $3k Every Month as a Freelance Ghostwriter

How I Make $2k – $3k per Month as a Freelance Ghost Writer

By Paul Deines

No one is expecting to buy a mansion in the Hamptons with their freelance writing income, but we should aim to receive decent compensation for our work.

Using sites like Upwork, Guru, MediaBistro and Freelancer – as well as pitching websites and journals I find in the Writer’s Market and online – I have built an income of $2,000-$3,000 per month. It requires a fair amount for boot-leather, but here are some best practices I have discovered.

Keep a Diverse Stable of Clients

I pitch clients constantly. It’s a part of my weekly writing routine. Of course, the most important component in developing a steady freelance income is having clients that come back to you again and again.

The good news is that if you produce quality work, clients will come back. They don’t want to spend money and time posting jobs on freelancer sites when they have a consistent writer they already know. So once you’re getting repeat offers, you need to diversify your stable.

Right now, I have three regular clients that reliably return to me multiple times throughout the month. Each has a different deliverable and turnaround expectation:

  • One client expects a 20,000-word novella every two weeks.
  • One client expects a couple of 3,000-5,000-word short stories a month.
  • One client expects an Instagram caption every couple of days.

I can write for all three of these clients concurrently. I know what they expect and when they expect it. The first two require me to sit at my desk and type. For the third, I can produce Instagram content on my phone while my daughter eats breakfast.

What these clients have in common is a consistent rate. Combined, they guarantee a little under two-thirds of my monthly income. The rest I can fill in with one-off commissions.

Look for Work that Interests You

All writing takes time, but some writing will be easier on your time.

Obviously, we cannot always pick and choose, but I encourage you to seek out work that is as close to your interests as possible.

Early this year, I happened upon a contract for a 25,000-word story in the style of Ian Fleming. I’m a huge James Bond fan. I have read most of the Fleming books and have a sense of their appeal and, crucially, their shortcomings.

Never have I been so confident in a proposal, and sure enough, I got the commission.

I wrote the story in four days, with minimal revisions. Was this because I am some preternaturally talented writer. While I’d like to claim that, the reality is that I could write quickly and well because I loved the work. Six thousand confident words flowed out of me each day.

It’s a cliché but not untrue: if you love what you do, you’ll never work a day in your life. The same is true of finding writing you’re interested in.

Know and Build Your Value

It’s easy to say that you value your own time and work, but properly valuing your work can be a tightrope walk. I can insist that I be paid two dollars a word, and the work will never materialize. On the other hand, there are plenty of potential employers out there that want to pay you five dollars for 1,000 words. How do I thread that needle?

Unfortunately, I have found that sometimes I need to take a lower rate when pitching to an industry or on a genre I haven’t written before. Is that fair? No. I’m taking less money to produce the same amount of work.

But I think of these lower-commission jobs similarly to a paid internship. You know you’re being short-changed, but you are gaining some experience, a reference, a portfolio sample and a little cash. Once you’ve knocked out a couple of these, you’ll have something for the portfolio and can increase your rate.

I’ve had some incredibly nice, supportive clients that simply haven’t been able to match my increasing rate. I have to walk away from them. I always thank them for their continued confidence and ask them to think of me if their budget increases.

Queue Up Work for the Future

 Just because you’re booked solid with current projects doesn’t mean you stop pitching. Lots of employers set deadlines far into the future, so you should be doing the same.

Queuing up future work is imperative to maintaining a regular income. You may be killing it today with lots of lucrative contracts. If next month rolls around, and you have nothing in the pipeline, yesterday’s workload will be cold comfort.

So line up next month’s work today.

But remember: you have to maintain your clients’ expectations. If you won’t be writing word-one for a week, tell them. That way, they won’t be refreshing their inboxes, wondering why you haven’t submitted anything. You also won’t have to update them constantly when you haven’t started.

Set a Schedule and Stick to It

Being a freelancer requires lots of hustle and elbow-grease. I write, on average, fifty thousand words per month for my various clients. Much of this work flows quickly, but I’m still putting in a lot of time at the keyboard.

The only way to ensure you meet your deadline and don’t because overwhelmed is by planning your days ahead of time. Create a schedule with your most challenging work at your most productive hours. I’m a morning person, so I tend to write my research-heavy pieces first thing. If I’m writing something action-driven or salacious, I schedule that in the evening when I’m in a looser mood.

The point is, I schedule. Each day, I know what’s on my agenda and have blocks of time for each item. If I don’t get everything completed that day, I go back to my agendas and reschedule those words for later.

Remember that revision has to be a part of your schedule and incorporate that into your time. Reviewing, proofing and refining your words takes time. Don’t take it for granted.

 

I won’t guarantee that if you stick to this advice, you can immediately quit your day job. But I have found a modicum of success by holding to these tenets. I don’t plan to change course anytime soon.

 

 

About Paul Deines:

Paul Deines is a New York-based writer focusing on beer and culture, sometimes together and sometimes separately. His work has appeared recently in SR-Mag, Brew Studs, and Hop Culture.

As a freelancer for hire, he ghostwrites novels, crafts marketing copy and contributes dialogue for video games and other digital content.

An occasional playwright, Paul’s plays have been performed both online and on stage around the country. In his spare time, he enjoys experimental cooking, classic cinema, watching football, attending the theatre, and constructing playthings for his daughter.

You can read more of his work at his website, The Curiograph (thecuriograph.com) or follow him on Twitter @thecuriograph.

You can also read recent articles by Paul Deines by visiting the links below:

www.hopculture.com

wearebrewstuds.com

Ashton Rice

Why Using a Beta Reader is a Damn Good Idea

Why Using a Beta Reader is a Damn Good Idea

By Ashton Rice

You just finished writing a story, read over it, and sent it to an editor. You get a rejection letter and your jaw drops when you get the feedback on the work you sent in. There were grammar errors, spelling mistakes, and syntax errors. On top of that, the editorial team got lost and confused trying to understand the story and plot. How could this happen? What did you do wrong? You swore you caught all of the mistakes when you read it before submitting it. Well, a beta reader could have probably saved you a lot of trouble.

What’s a Beta Reader?

What is a beta reader? A beta reader is a person who will read a writer’s story or book before it’s released or passed down to editorial. This is not an editor, but rather a test subject or audience to see how writing(s) will fare once published. These individuals can catch basic spelling and grammar errors, sure, but they really are a writer’s critics before the critics.

Beta readers aim to give writers an understanding of any given writing’s receptivity. Beta readers in writing are much like a preview audience for a movie. For example, a writer may give the story to a beta reader or readers who represent a particular demographic they hope to write for. From there the reception in that sample group will let the author know if they have hit the mark.

If you want to write for a specific demographic, and the beta reader(s) who represent that group respond negatively to your work, you might want to reconsider the target audience. You also may want to just rewrite the article or story altogether. This is how having a beta reader works in very simple terms.

Here’s more on how a Beta Reader can help you:

Beyond making sure that a writer is pinpointing a demographic and/or target audience, a beta reader can save an author some grief from editors. A writer reviewing their work is a lot less effective than getting an impartial reader to take on the same task. As the writer, one may have looked at a piece for hours on end. The chances of a person who wrote a work successfully reading through it for errors are unlikely. At the point of completion, a writer is usually burnt out and ready to meet that ever-so-sneaky-deadline. On top of that, most writers are biased to what they produced and often don’t consider changes in the plot, subplots, sentence structure; and they often miss continuity issues.

Handing off the final product to the second pair of eyes and getting some objective and potentially crucial feedback can be the difference between an editor viewing you as a novice or a professional. Sometimes hearing a suggestion from a book-lover is all a writer needs to be convinced that a change is necessary. These small errors that come from apathy, fatigue, and stubbornness are ones editors don’t want to deal with.

Let’s wrap this up:

Try to finish writing at least a day early so that someone else can give you a valuable opinion and some feedback before you send your copy off to the editor. Beta readers are typically inexpensive, most do this for free! You’ll be looking for someone who is willing to read specific genres and offer their opinion in a brief email. It’s very possible you have several beta readers in your contact list, social media network or writing group. So, before you rush a story through to your outbox, be sure to contact a beta reader to see if there is anything you could improve on.

About Ashton Rice:

As a sequential art major out of SCAD, Ashton began writing as an intern editing for The Borgen Project. He learned valuable experience as an editor and writer while taking on this role, and discovered a passion for writing and sharing information and ideas through written language.

Ashton now writes for SOLRAD Magazine and Write-On e-Publishing. His passion for comics still persists, and he continues to write and illustrate his own comics while studying up and coming alternative artists for reviews and interviews for the SOLRAD Magazine. Ashton favors writing science fiction as well as contemporary fiction in his personal work.

Follow Aston Rice on Instagram at: https://www.instagram.com/ashy.rice.art/

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