The Silent Killer

editing

I know.  You are thinking that I am about to say a few more words on writing true crime but no.  This time I am addressing the one thing we as writers feel compelled to do but this impulse can kill the creativity of a book in a heartbeat.  The silent killer?  Over editing.

There is so much said about wanting to edit your work as you go and I for one want to say:  The kiss of death lies in editing too soon and too much. So, as I launched into writing about this controversial subject for all writers, I stumbled on an article that doesn’t need me to reinvent the wheel to improve upon and I am passing it on to you.  This is sage advise for all writers.

Danger: Over-editing

martin-LR-1Award winning author Gail Gaymer Martin talks about the dangers of over-editing.

One of the plights of a novelist or writer is wanting to perfect your work so completely that you can‘t move forward. I’ve known numerous authors who’ve never completed a novel because they continue to rework the first three chapters until they literally take the life from it.

There can be too much of a good thing. Editing is necessary to create a story that moves forward with every page and every paragraph, but over-editing can be a killer, like over-eating or over-dieting. Weight control is a balance of healthy food and realistic portions. Editing is the same.

The author must balance adding more flourishes to create a rich scene that is often skimmed by the reader or pages of dialogue that becomes too much chitchat, or the opposite, cutting so much out of the novel that it becomes bare bones and loses reality, emotion, and depth. So what can you do? This is the question I was asked by a reader who follows my Writing Fiction blog.

The question:
Sometimes I feel so overwhelmed! I’ve written my beginning over and over again. I have even gotten to 15,000 words but keep getting frustrated. How do you move on without going back and constantly editing? I am a perfectionist, but that seems to be hindering me in my writing. Any tips?

My response:
Over-editing can hinder a writer’s progress and allow someone with talent to never finish a book. It’s a kind of discipline that you have to learn. A novelist’s voice is important. Readers know the tone and rhythm of your writing, and they connect with it. When you strip it to the bones or pile on unnecessary fat, you’ve changed your style and voice and can disconnect with readers.

Editing is to make the book the best it can be, but, sometimes you will reach a point where you lose judgment and do more damage than good to a novel. When you spend all your time tweaking the novel, you are not moving forward. You’ve become stagnant, and when standing still, you get nowhere.

Remember that all books need an editor, traditional or self-published. Think of your work as a first draft and know that if the book is to be published, an editor will help you polish your work with fresh eyes. Self-publishing means hiring an editor to work with your book, and traditional publishing means numerous editors—your senior, copy, and line editors—will go over your book with you at no cost.

Over-editing not only takes the life from the book, but it also steals energy and creativity from the novelist. The book becomes boring and loses its spark. Don’t let that happen. Learn ways to help you move forward.

Techniques to help you avoid over-editing

  • Set a Deadline:

Traditional writers sell a novel and then are given a deadline which is part of the contract so authors make sure they meet their deadline. Even if the book isn’t sold, make a decision when you want the book to be written or when you want the proposal to be ready for the submission to a publisher. Deadlines help you move along. Assign yourself so many words a day. If you spend the time editing, you will have to continue to add  words. Give yourself a penalty if you don’t meet the deadline. No chocolate the next day. No TV in the evening. When you lose something you enjoy for not making the deadline, you will think twice about over-editing.

  • Read  Work Aloud:

Aloud is the key. Listen to your novel either by reading aloud or by using a text to voice program. I use Natural Reader and find it very helpful in not only catching typos or the wrong word (meet instead of met, slide instead of slid) but also spotting overworked words, awkward sentences and redundancies. I highlight the area I want to look at when I finish listening or make note of the page and then look at only those sections later.

  • Use a Critique Group:

While the group is only as good as its members, hearing other’s opinions of your novel can help you discover areas what needs clarifying, cutting or reworking in some way. What’s clear in your mind can be confusing in someone else’s. Ask them to view the action and dialogue with your character’s personality, values and beliefs in mind. Is it realistic and consistent. People change but only in time. Input on your work is important, but not from mothers, siblings or good friends. They aren’t always honest so as not to hurt your feelings. . .or their opinion is skewed because they love you. Critique groups are best when they are fellow authors. When those readers don’t find an error or problem in some of the scenes, don’t change them.

  • Make a List of Common Problems:

When you’re working on a list of specific problems, you will not get stuck in a rut. As you discover areas of weakness, focus on those and once changed, let it be. Too much backstory, lack of description, overuse of dialogue tags, not enough white space on the page, or redundancy. For example, keep a list of words you overuse. As you listen to the novel or skim the pages, notice words that jump out at you because you’ve used them over and over. Use a thesaurus and find alternatives for the same idea and use them. Cut as many adverbs as possible. Adverbs are a weak way to make your character come alive. Avoid adverbs in dialogues tags. Make the sentences come alive with the words you select rather than telling the reader if the character is excited, suspicious or angry and don’t use too many adjectives in your descriptions, but don’t cut them bare-bones.

  • Walk Away:

Give yourself a break from the novel. Put it aside for a few days and allow yourself to un-attach from the story. When you go back, you can look at it with new eyes. What looked bad might be fine. What seemed amazing might be so overworked making it lose its spark.

  • My Editing Method:

I write without editing until I’m done for the day. When I return to the novel, I go back to what I’d written and reread, making a few changes or highlighting a section I’m not sure about or one that needs some research. Then I continue to write, adding more to the story. When I stop, I go back and fix the things I highlighted early that needs work, or I wait and edit the next day. But each day I only edit what I’d written the day before. Once I have five or six chapters written, I edit again, and then move forward with the novel. I always leave a note to myself where I will start when I finish writing for the day or if I’m taking a break. Writers must learn to turn their internal editor on and off as needed. Sadly, too many writers work so hard perfecting the first chapter they never get anywhere, and what they’ve written becomes overworked and loses it’s spark. Part of creativity is spontaneity.

What techniques do you use to avoid over-editing? Let us know in the comments below.f

© Gail Gaymer Martin 2014

TreasuresofherHeart VLDMulti-award-winning novelist, Gail Gaymer Martin is the author of contemporary romance, romantic suspense, and women’s fiction with 55 published novels and nearly 4 million books in print. Her novel’s have received many national awards, such as: the ACFW Carol Award, Booksellers Best and RT Reviewer’s Choice Award. CBS local news listed Gail as one of the four best writers in the Detroit area. She is a cofounder of American Christian Fiction Writers and serves on their Executive Board. Gail is a member of Advanced Speakers and Writers as well as Christian Authors Network and is a keynote speaker at women’s organization events as well as a workshop presenter at conferences across the US. Gail lives in Michigan with her husband.

Visit her website at:www.gailgaymermartin.com where you can read about her latest release, Treasures of Her Heart, available as a trade and eBook.

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True Crime and True Grit

Ted Bundy

Why did she do it?  Why did Ann Rule write about Ted Bundy, murder and mayhem and become so popular in true crime?  I want to warn potential victims. Many of them are women, and many of them are battered women. It’s a cause for me. When I look back, though, so many of the books I’ve written are about wives who just couldn’t get away.” said Ann Rule before her death.

In honor of author Ann Rule, who just died, I am focusing this post on writers interested in stories about True Crime. And I say that because I can relate to the story below of how Ann Rule unwillingly found herself writing about a serial killer, Ted Bundy, a man she knew and a story which launched her fame as a true crime writer. She never wanted to write true crime but she became known as one of the very best in her field.  Many writers  start out going in one direction and find themselves down the line writing stories they never set out to write.

I have found this past year I have been approached by more people writing true crime than memoir, novels, science fiction or comedy put together. Serial killing, corporate crime, political assassinations and stories about sociopathy, psychopathy and legal annihilations that make Gone Girl a walk in the park have crossed my desk more than any other genre. So, as a psychologist, true criminals pique my interest. Getting into the head of someone who is unthinkably inhumane has a curiosity factor that draws readers from every demographic. Is it voyeurism? Is it the perennial draw of the dark side of human behavior that makes true crime an unstoppable genre? These are complex questions.

So in honor of those who write true crime what better advise to take but what Ann Rule points out is needed to break into true crime writing. Below is a little about her life, and some tips for those writers who aren’t faint of heart and will stay up till the wee hours staging a courtroom, dusting a crime scene, observing at trials and flirting with the pathology of a Dexter, Hannibal or Ted Bundy.

ann rule

Ann Rule in 1984 with "The Stranger Beside Me," her best-selling 1980 study of the serial killer Ted Bundy.

Ann Rule, 83, Dies: Wrote About Ted Bundy and Other Killers    

By William Grimes

Ann Rule, whose 1980 study of the serial killer Ted Bundy, “The Stranger Beside Me,” set her on the road to writing dozens of best-selling true-crime books praised for their insight into criminal psychology, died on Sunday at a medical center in Burien, Wash. She was 83.

Ms. Rule’s articles had been appearing in the magazine True Detective for more than a decade when, in the mid-1970s, fate delivered her biggest subject to her doorstep. She was working on a book about a series of unsolved murders in the Seattle area when the police in Utah arrested the man they believed to be the killer, a former law student named Theodore Robert Bundy.

The name did more than ring a bell. In the early 1970s Bundy had been a close friend and colleague, answering the suicide hotline with her on the night shift at the Seattle crisis center where they both volunteered. The rest is history.

 

best ann rule

Breaking Into True Crime: Ann Rule’s 9 Tips for Studying Courtroom Trials

By: Zachary Petit —written by former WD managing editor Zachary Petit—that’s full of tips and advice delivered by Rule.

Bestseller Ann Rule had a heck of a journey to becoming a writer—something she never really wanted to be in the first place. “All I ever wanted to be was a police officer,” she told the crowd in her ThrillerFest session “How to Stalk a Serial Killer and Tell the Gruesome Tale: All You Need to Know to Write Great True Crime.” “The one thing I knew I didn’t want to be was a writer.” Rule thought it was all too hard—heck, you’d have to rewrite what you already wrote.

As a kid, she would visit her grandpa, who was a sheriff, but to see him she’d have to go to the jail. There, she was given the job of bringing prisoners their meals. From an early age, she was fascinated by crime—not the how, but the why.

“I think that we come to our genre naturally,” she said.

Following her passions over the years, she took any ridealong with law enforcement she could get. Attended classes. Got an associate’s degree in criminal science.

And along the way, she began writing, collected innumerable rejections, and penned pieces for true detective magazines, which she realized could pay the bills.

“You have to write about what you know about,” she said.

Back then, not even her children slowed her down. “Unless the kids were actually fighting on top of the typewriter, I could keep writing.”

And then there’s the famous story that led her to her first book, her breakout The Stranger Beside Me.

Her brother had committed suicide, so she decided to volunteer at the crisis clinic in Seattle. The clinic paired volunteers with work-study students. At night, they’d be locked up in the building all alone together. Her partner was a psychology student getting paid $2 per hour.

His name was Ted Bundy.

After his crimes became apparent, Rule attended Bundy’s trial, and the rest of the story is history, amazingly documented in The Stranger Beside Me.

Her writing passion went on to encompass documenting the suspects and victims involved in crimes, and describing their lives before their paths crossed—along the lines of Truman Capote’s In Cold Blood.

In her presentation, Rule pointed out that pros are always saying that you only have a 1/10 of 1 percent shot at becoming a professional writer. But she decided that she was going to be in that 1/10 of 1 percent.

“You can’t let the naysayers make think you can’t make it, because you can,” she said.

If you want to be a true crime writer, Rule said the best thing you can be is immensely curious. And, you should go to trials—something anyone can do. From a life spent in courtrooms, here are Rule’s tips and etiquette for doing just that.

  1. You can usually get a press pass, but there’s often a deluge of writers trying to obtain one. Rule calls the prosecutor’s assistant.
  2. Study the witnesses, watch the jury, and soak up the entire experience.
  3. Try to obtain the court documents from the court reporter or the prosecutor, or purchase them.
  4. Observe the other reporters in the room, and analyze what they’re doing.
  5. If you’re sitting out in the hall with potential witnesses, don’t ask them about anything. You can comment on the weather or the courtroom benches being hard, but “Keep your eyes and ears open and your mouth pretty shut.”
  6. Don’t take newspapers into the courtroom.
  7. Know what you’re getting yourself into. “You don’t want to start a nonfiction unless you’re really in love with it, and usually you want a go-ahead from an editor.”
  8. Absorb detail. “When I’m writing a true-crime book I want the reader to walk along with me.” Rule describes the temperature, how the air feels—“I think it’s very important to set the scene.” As far as the writing, you can novelize, but keep all of your facts straight.
  9. Don’t use the real name of a rape or sexual crime victim in your writing. (Though Rule has written about a few who have asked to have their names included.) As Rule said of her subjects at large.

“I always care about my people. And if I didn’t, I wouldn’t be doing what I’m doing.” Ann Rule

 

 

Writer’s Block Demystified

garfield

Writer’s block “is a condition, primarily associated with writing, in which a writer loses the ability to produce new work or experiences a creative slowdown. The condition ranges in difficulty from coming up with original ideas to being unable to produce a work for years.”

Now that I read this it sounds like some category found in the diagnostic manual for psychologists to refer to, like paranoia or phobias. Is writer’ block some condition that they just might be coming out with a new drug for? Surely not. But writer’s everywhere have a fear of the dreaded WB anyway.

I hear from countless writers that they struggle with writer’s block, wait for the moment it strikes like a migraine headache or simply live in fear that one day they will be in the final stretch of writing a novel or a story and be stricken down by the an inexplicable moment when there are simply no words. So I thought I would take a few minutes to debunk this mystery and myth.

I am not saying that this does not occur for many writers. But the writers it does not ever occur for are those who write from inspiration and passion. When a writer is not engaged with the subject or the story, then writer’s block may become an inevitability, just like boredom. Staring at the page with no words coming and then getting sweaty palmed is only a symptom that there is no creative edge happening, no inner fire pushing the words out onto the paper and that instead the mind is in analytical mode.

Writer’s who never experience writer’s block are those who are inside of their writing, channeling the words, the characters and the stories in ways they don’t even know where the words come from, with little concern for editing till the final draft. And the key being that the writing they are doing is not a brain job it is a heart song. Now that may feel foreign to those who write for a living and for other people as part of a paid job. There is little room for being personally inspired when you are critiquing a medical journal article or court reporting. But when you sit at the page simply because you are busting with energy to see what will happen, what scene will write itself, you anticipate which muse will take control and you allow expression to be the goal.  That is when writer’s block is not an issue.

Yet, for a writer to commit at this level, to allow intuition, passion and story to run the show and allow the mind to go on vacation for a little while, or at least till the final edit, miracles happen. Writer’s block is about only one thing: Not knowing what you are inspired and moved to write. When you locate that in your own intuition and act on it no matter whether you know the destination of your writing or not, you will write like the wind.

writers block

Do You Have a Writer’s Heart?

heartbrken writers

“A writer’s heart, a poet’s heart, an artist’s heart, a musician’s heart is always breaking. It is through that broken window that we see the world…”― Alice Walker

Author, Alice Walker changed the way I see my animals in life, especially my cats in her groundbreaking book, The Temple of My Familiar. That was back in 1989 when we were all enamored with polyester and pleather and she was weaving magic with words and pulling us into subjects that would change how we see the world. The Temple of My Familiar was an ambitious and multi-narrative novel containing the over-leaved stories of Arveyda, a musician in search of his past; Carlotta, his Latin American wife who lived in exile from hers; Suwelo, a black professor of American History who realizes that his generation of men had failed women; Fanny, his ex-wife about to meet her father for the first time; and Lissie, a vibrant creature with a thousand pasts. And, her quote lingers with me still.

norman rush

Mark Nepo, author of The Exquisite Risk writes about the same thing. About how the heart is the most critical part of writing. “Very quickly, when the heart is broken open, we are exhausted of our differences. We don’t try so hard to keep up needless boundaries and are forced to realize we are all the same, and this allows us to touch and be touched more directly. Things we thought that mattered don’t. I know once my heart is opened, I can find the courage to lean into the place where I am broken, to lean into that opening, letting life rush in and touch me there, even though that place is incredibly tender. I’ve discovered over time that the rush of life into the tender place where we are broken is the beginning of resilience.” It is also the beginning of an exceptional writer.

And it is just this relentless courage to write from our broken places that makes a writer stand out from the crowded writer’s circle. Those books, articles, poems and memoirs that stop you in your tracks and make you want to read one sentence, one page over and over again are not always about the writers talent to craft words. It is usually that they have taken a candle and allowed themselves to go deep into their own stories, feel their wounds, compile their learning and relive the pain. The very definition of courage for an artist.  They illuminate all of their own truth right there on the page for everyone to read. To write from these places assures the writer that they are listening to the most powerful muse: Themselves. This level of honesty and raw writing is a challenge for many writers. But without it, we skim over life on the page, we water down truth to something that mirrors our culture at a superficial level and do not allow for the mystery of our own lives and our broken hearts to lead the way for us as writers. When we can, each of us will feel the palpable difference in what words we craft, the depth of the stories we chose to tell and we find that once the plunge into the crack of our own hearts has occurred, we become the bravest writers possible.

sylvia plath

 

 

 

Making Money as a Writer

17 grants

Question:  How do you make money as a writer?

Writers write because they are compelled to, because they are  crazy, because they want to tell their story, feel that writing is their purpose, their passion and some write for profit.  Making money in a shapeshifting industry for writers is always a creative edge.  From simply paying the bills to making six figures, most people do not consider grants as coming to the rescue for getting your project off the ground.  Rebecca McCray (see her profile at the end of her article) did some serious homework for you so I am passing her article along to add to your file on how to get paid as a writer.

typewriter and champagne

“Writing may be incredibly satisfying, but it’s not a cash cow; most writers do what they do because they love it and couldn’t imagine doing anything else.

When you find yourself with a big, time-consuming writing project to pursue, your love of words alone might not pay the bills. That’s when grant money can swoop in to save the day (and your budget).  Here are 17 great grants for writers. Ready to apply for money to fund your writing?

1. Leeway Foundation Art and Change Grants

These grants are available to women and transgender artists and writers based in the Delaware Valley region whose work emphasizes social change. That means “social change must be integral to the ideas, beliefs and goals that are woven throughout your [writing] and your process of creating and sharing your art,” and should positively engage the community.

Keep in mind that one key to success for this grant is securing a “Change Partner”: an individual, business, or organization that is connected to your work, and who will endorse your project.

If you are at least 18 years old and live in Bucks, Camden, Chester, Delaware, Montgomery or Philadelphia counties, you are eligible to apply. All genres are welcome. Applications must be received by March 1, 2015, and you can only apply once per grant cycle. Check out this page for all the details.

2. Artist Trust

If you are a resident of Washington state, this is the grant for you.

The Grants for Artists Program (GAP) awards up to $1,500 annually to 50 practicing literary and visual artists. Grant money can support the “development, completion or presentation of new work.”

Applications for the next round of grants will be available in March 2015; check out the details here. The organization also connects artists to an array of services, including career development, legal support, residencies and continuing education (just to name a few).

3. Bard College Fiction Prize

This writer-in-residence award is an amazing opportunity for an emerging writer over the age of 39 to devote a semester to a fiction project.

The recipient is required to give one public lecture on the campus and to informally meet with Bard students, but the rest of the time is devoted to their writing project. Bard College’s writing program boasts a talented faculty and a beautiful Annandale-on-Hudson campus in New York.

The award is annual, with this year’s project deadline having just passed on July 15, 2014; look for details on the 2015 deadline shortly. The application process is very straightforward; no lengthy FAQ pages here. Applicants should havepublished at least one book, three copies of which must be submitted with a cover letter explaining their next project and their C.V.

4. A Room Of Her Own Freedom Award

An especially generous grant of $50,000, this award is for a female writer in any genre with a true vision for her project. The application is a serious undertaking, but AROHO boasts that the process is a rewarding one, whether or not you end up with the big prize.

This grant period’s deadline has yet to be announced, so starting dreaming and planning now. Take a look at some of the past grantees and their work for inspiration.

5. Arts Writers Grant Program

If contemporary visual art is your writing area of expertise, you’re in luck. This grant funds writers who are passionate and knowledgeable about contemporary art and whose work will broaden the arts writing audience.

Good news for those who are trying to break into the arts writing field: emerging talent is welcome to apply. Writers can apply for a grant in one of five project types: blog, article, book, new and alternative media, or short-form writing. With prizes that range from $5,000 to $50,000, keep your eye out for the application period to reopen in spring 2015. Details are available here.

6. Sustainable Arts Foundation Award

This award of $2,000 or $6,000 stands out from the crowd by specifically supporting artists and writers with at least one child under the age of 18. The foundation strives to support parents who are trying to balance their creative work with the demands of child rearing.

Interested applicants should submit a sample of their work (maximum 25 pages), along with the answers to the questions found here. The fall deadline is September 8, 2014. Writers with kids might also want to keep an eye on this foundation’s work funding organizations that are trying to make their residency programs more parent friendly.

7. Creative Capital

If you’ve been working as a writer for at least five years, Creative Capital’s individual awards for “Artist Projects” might be for you. They aim to support working artists (in film, visual and performing art, emerging fields and literature) through funding and career development, based on a venture-capital model with the goal of helping grant recipients build sustainable artistic practices.

Projects receive between $10,000 and $50,000. Past literature recipients includeRebecca Solnit, Ben Marcus, Sharifa Rhodes-Pitts, and Alan Gilbert. Applications for Literature Projects will be accepted from February 2 to 28, 2015, and winners will be announced in 2016, so you have plenty of time to get organized.

Check out an online info session and this page for details on the application process. Note: applicants must also be over 25 years old, legal permanent residents of the United States and cannot be full-time students.

8. Arizona Artist Research and Development Grant

Arizona writers who are “pioneering new works” may want to try their luck with this grant, awarded to 10 to 12 artists across disciplines each year. The grant’s amount goes up to $5,000 depending on funding, though last year the average award was $3,500.

Applicants whose projects emphasize the “new” — new methodologies, new strategies, new ways of engaging readers — are primed for success. Writers should also explicitly state in their applications how their project will impact not just their own artistic practices, but also the larger Arizona community. The application has numerous demanding parts, so be sure to give yourself time to delve into the guidelines and meet the September 18, 2014 deadline.

9. Table 4

In honor of New York restaurateur Elaine Kaufman, the Table 4 Writers Foundation offers funding to New York City-based fiction and nonfiction writers.

Kaufman was known for opening the doors of her Upper East Side restaurant to established writers as well as those who were waiting for their big break, sometimes even picking up the tab when they were low on cash. The grant upholds this spirit by supporting promising writers aged 21 and older with grants of $2,500.

Applicants must provide an unpublished writing sample that somehow addresses New York City and an explanation of how the grant will further their latest project. Take a look at past winners and details here. The 2014 deadline hasn’t been posted yet, but last year’s application was due in October.

10. Minnesota Artist Initiative Grant

Minnesota-based writers of poetry and prose should keep an eye on this grant in 2015, awarded in amounts of $2,000 to $10,000. If you’ve been a resident for at least six months and are 18 or older, the Minnesota State Arts Board will consider your application for this grant, which supports the “career building and creative development” of Minnesota artists across mediums.

Public engagement is key for successful applicants; all projects must include a community component such as a reading or open workshop. Find the full details of the application process here.

11. Spirit of Writing Grant

If your writing project involves or serves a team, this grant may be a good fit for you. The Crystal Spirit Publishing grant supports writing projects that benefit a group of people rather than just an individual writer, particularly projects that tackle a designated problem head-on.

Expect to explain the problem in your application and how your work will address it. There are two application cycles per year; this year’s deadlines were in January and July, so you have time to prepare for 2015. Winners receive grants ranging from $500 to $2,500, but keep in mind the larger sums will likely go to organizational entrants as the grant is open to both organizations and individuals.

12. Kansas City Inspiration Grant

Kansas City writers may be awarded between $250 and $2,500 for professional development and budding projects. The regional arts council notes that the highest priority for the grant is to fund projects that significantly advance career development or an artist’s capacity to complete their work — not to fund “business as usual.”

Interested applicants can submit letters of intent, the first step, in March, July and November. A full proposal, which includes six samples of work, is only submitted after an applicant passes this initial phase.

Note that if you request more than $1,000 for your project, matching funds may be required. Check out the Inspiration Resources page for more information.

13. RISCA Project Grants for Artists

As with most other state arts council-based grants, this Rhode Island grant is available to writers who ultimately plan to share their work with the public through a reading, performance or other open event. The emphasis on public value is strong with the RI Arts Council, so this grant will best serve socially minded writing projects.

Submit applications twice per year, on April 1 and October 1. Individual applicants can request up to a whopping $10,000, but be mindful that more realistic requests are more likely to be granted, and if your request is especially sizeable you might consider providing proof that other organizations or individuals have invested monetarily in your project.

Note that applicants to this program must contact the director, Cristina DiChiera, before submission. Find her contact information here, along with all the application details.

14. Arts Council Grants for the Arts

Writers of fiction and poetry in England are eligible for this grant opportunity. Some nonfiction options exist for particularly innovative applicants, but theguidelines explicitly exclude screenwriting.

Public engagement and significant professional development are key for successful applicants, and writers should be able to demonstrate the support of an objective third-party such as a publisher, editor or literary organization that also supports their work.

One of the great things about this grant is that the funding can be applied to a broad range of resources, including residencies, mentoring, research or simply time to write.

15. Wyoming Individual Artist Grant

Awards of up to $500 are available for Wyoming writers of prose, poetry, scripts or screenplays. The Wyoming Arts Council notes that many applicants who receive the grant use the funding for travel or to build a professional website.

Applications are accepted on a rolling basis, but should be submitted at least six weeks prior to the anticipated project start date. The application process is delightfully straightforward; take a look here for more information.

16.North Carolina Regional Project Grant

North Carolina writers at any stage in their careers are invited to apply for grants to fund new or existing projects, with awards ranging from $300 to $5,000.

Application procedures and deadlines vary depending on your county, so make sure you reach out to the office designated on this page for specific regional details. The guidelines are fairly open-ended, which is good news for writers who want to use the funds for a variety of professional development needs.

17.Awesome Foundation Grant

This grant is as awesome as it sounds. Winners receive $1,000 with “no strings attached” to pursue their incredibly awesome projects, and the foundation and its donors have no say in the finished project.

Chapters of the foundation organized by region or subject review applications and select the grantees. The process is almost unsettlingly simple (the website boasts it can be completed in 15 minutes), but don’t be deterred — this really is a great opportunity.

Looking for more great grants and funding options? Check out C. Hope Clark’s fantastic list of opportunities at Funds for Writers.”

 

Rebecca McCray is a New York-based writer who covers social justice, criminal justice reform, and whatever else catches her eye. Check out more of her writing here. .

Rebecca McCray | @rebeccakmccray

Dana Sitar

FEATURED

30 Books to Read by 30

 

books

Some books are best read at a certain age. Even the novels and memoirs you might consider timeless — Toni Morrison’s The Bluest Eye or Joan Didion’sThe Year of Magical Thinking — can serve a special purpose if consumed during a particular phase in your life. That particular phase is, of course, your 20s.

The much celebrated, sometimes maligned, decade is an undeniably impressionable one. You’ve happily exited your teens, slowly freeing yourself of the weighty angst you carried throughout high school. You might have one foot in college and the other in a career, even if you’re well beyond graduation, nestled comfortably in a new job — maybe even a relationship. But you’re probably not settled — financially, emotionally, spiritually, artistically. You’re aching for a philosophy, for a template for adulthood; anything that will anchor your constantly evolving life to solid ground.

Cue the 30 books you should read before you turn 30! From Alice Munro to Ralph Ellison, these are the books that are best read in your 20s, when you’re restless and hungry for new ideas. Whether you’re just starting the decade or about to leave it, you’ve still got time to put a dent in this literary bucket list. Enjoy:

1. Lives of Girls and Women, Alice Munro

At long last, Munro’s short stories have been given their due acknowledgment as some of the best crafted by a living writer. Her characters are humble, witty, relatable; her tales read like conversations with an old, self-aware friend. Her novel, too, is among the best coming-of-age stories. Following young Del Jordan on adolescent adventures with her Encyclopedia-selling mother and her best friend Naomi, the interwoven tales are set in a small town, but will remind almost any reader of their own first encounters with isolation, lust and ambition. -Maddie Crum

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2. To the Lighthouse, Virginia Woolf

In this hauntingly elegiac book, Woolf evokes the painful inevitability of time’s passage. The Ramsays are enjoying a summer on the Isle of Skye; the children, husband and guests are all effortlessly entertained by the bewitching Mrs. Ramsay. Time passes, and we revisit the house, but it’s empty and left open to the elements. Losses have been suffered that could not have been foreseen in the idyllic days documented in the first section. To the Lighthouse captures the agony of loss contained in growing up, and reminds us all, hopefully, to be grateful for the blessings we may often overlook when we’re feeling young and invincible. -Claire Fallon

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3. The Year of Magical Thinking, Joan Didion

Didion’s memoir begins when, one evening, just before dinner, her husband unexpectedly suffers a heart attack and dies. What follows is an honest and impassioned story of the author’s first year without him, from the fallacious thoughts saying he’ll return, to the small daily rituals that will never be the same. Grief is not often talked about in detail, but this book captures its essence. -Priscilla Frank

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4. In Persuasion Nation, George Saunders

Saunders packages together satire and sci-fi so adeptly, in short and digestible spurts, approaching everything from contagion to commercialism. And he doesn’t shy away from the horrific future he seems to feel is just a stone’s throw from our own era. It’s a dose of unreality everyone under 30 (and over, for that matter) should experience. -Katherine Brooks

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5. Ulysses, James Joyce

This hefty, heady masterpiece about a single day in Dublin revolutionized the modernist literary scene. Read it to ruminate on perception, to relate to the father-searching angst of young artist Stephen Dedalus, or just to remember how much you experience in 24 hours. Investing in a companion book (or college course) would not go amiss. -Colton Valentine

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6. The Corrections, Jonathan Franzen

Ah, the catastrophic voyage from youth to adulthood. Nobody seems to capture it as accurately, if sarcastically, as Franzen. Three siblings each attempt to navigate the rough waters beyond their hometown, where things aren’t so stable lately, either. Egotistical middle kid Chip has dismayingly been barred from academia; career-driven Denise is caught up in affair (or two); seemingly stable Gary has been feeling drearier than his pristine home will have you believe. At the very least, The Corrections is a smart, funny break from your own quarter-life or midlife crisis. -Maddie Crum

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7. Middlemarch, George Eliot

Eliot’s great gift as a novelist was her breadth of empathy, which stretched wide enough to cover spoiled society brats and humble farmers alike. In Middlemarch, we see the emotional education of a varied cast of young people — naively idealistic Dorothea, selfish Rosamond, ambitious Dr. Lydgate, goodhearted rake Fred Vincy, and more — as they take the first steps toward shaping the rest of their lives. Eliot deftly impresses on readers the need for personal maturation, and the possible consequences of making poor choices early in life, but all with a warm understanding that acts as a balm to those of us still struggling toward adulthood. -Claire Fallon

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8. The Sabbath, AJ Heschel

Heschel’s compact gem explores the history and significance of the Jewish tradition of Shabbat. Yet even for the non-religious reader, the book offers a gripping and timely meditation on the holiness of time, as relevant as ever in today’s space-dominated world. Whether or not you’re practicing or Jewish at all, this book will show the immense import of a day of rest. -Priscilla Frank

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9. A Little Life, Hanya Yanagihara

On the surface, Yanagihara’s prose follows four friends fresh out of university, fitted with romanticized character arcs that intersect and detach in familiar, post-collegiate ways. But beyond the glamour of making it to — and flourishing within — the fantasy world that is Manhattan, the author picks away at our ability to understand grief and depression, challenging the reader to be more and more empathetic. And your 20s is a better time than any to hone the oft-overlooked trait of empathy. (Bonus: The books is physically hefty at over 700 pages, but ravenously readable.) -Katherine Brooks

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10. The Bluest Eye, Toni Morrison

A wake-up call for any young adult on how race and gender burrow deeply into (adolescent) psychology. The novel’s treatment of endemic prejudice is frighteningly applicable to 2015, and it hones your ability to pick apart the ways that prejudice manifests in our supposedly pure sense of beauty. At the same time, Morrison manages to coat even the most appalling actions in impossibility gorgeous words. Her style is purple prose done to perfection. -Colton Valentine

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11. My Brilliant Friend, Elena Ferrante

The first in a mysterious Italian author’s series about the intertwined lives of two female friends, this novel not only brings to life the pleasures and difficulties of intimacy, but also the stubborn nature of fate. As narrator Elena and her childhood comrade Lila attempt to escape the violent, patriarchal strictures of Neapolitan life through education and romance respectively, they learn that doing so would require much more than objective success. -Maddie Crum

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12. White Teeth, Zadie Smith

White Teeth crosses generations, following two war buddies, Archie Jones and Samad Iqbal, and the cultural struggles faced by them and their families in a rapidly changing England. Jones’ biracial, brilliant daughter and Iqbal’s rebellious sons form close friendships and blossom in different strengths, but their paths to adulthood are strewn with pitfalls — like a profound longing for acceptance that any young person, and any immigrant, can likely relate to. Adolescence is awkward for most of us — even girls, so often presented as nubile and lovely in art — and Smith takes the fumbling insecurity, physical self-consciousness and shifting identity and unflinchingly lays it all on the page. -Claire Fallon

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13. I Love Dick, Chris Kraus

I Love Dick is part diary, part theory, part fiction, part autobiography, part confession, part manifesto. Kraus’ story begins when she and her husband embark on the strange, erotic exercise of sending love letters to the man Kraus wants desperately to sleep with. Kraus’ book urges women to be exposed, paradoxical, desirous, even destructive — anything but quiet. -Priscilla Frank

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14. Kurt Vonnegut: Letters, ed. Dan Wakefield

Reading a compilation of letters so specific and intimate, spanning decades of one person’s life, gives a 20-something (or me, at least) a sense of the passing of time. Vonnegut’s collected correspondence offers readers a glimpse of the rougher sides of his experience as a professional writer; the balancing game of maintaining relationships with loved ones and friends, colleagues and critics. Most importantly, it proves in one way or another that real life, the stuff of nonfiction, propels forward, even after the most unmanageable moments of anguish. -Katherine Brooks

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15. The Symposium, Plato

A gorgeous examination of beauty, love, and education told in a series of speeches (“encomia”) by Greeks who become increasingly intoxicated as the night goes on. It’s both a dose of idealism and a reminder to never take anyone, even Plato, too seriously. Recommendation: read in one Starbucks sitting, then walk outside and prepare for transcendence. You might just enter the world of forms. -Colton Valentine

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16. Dept. of Speculation, Jenny Offill

On its face, Offill’s slim novel is a sparse reflection on infidelity — the forces that bring people together, and the forces that wedge them apart. But the author’s magical command of language infuses her story with scientific metaphors, lyrical observations about what it is to be human, and hilarious anecdotes about yoga pants. -Maddie Crum

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17. Invisible Man, Ralph Ellison

Every now and then, you’ll read a book that will pick up your worldview and shake it like a Boggle board, leaving everything in a somewhat different position that before. Invisible Man is one of those books. And it’s great to shake up your worldview as soon as possible rather than go through your life playing the same letters. (Right?) Invisible Man excavates the psychological damage inflicted by racism, as well as the economic and physical toll, as its increasingly bitter narrator endures countless betrayals and indignities both in his native South and in Harlem, where he ultimately moves. The unseen trauma festers into a rage that saturates his every fiber, leaving us questioning the structures of our society and the hidden causes of seemingly inexplicable pain. -Claire Fallon

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18. Americanah, Chimamanda Ngozi Adichie

Americanah is a love story, following two teenagers in Nigeria as they grow up and leave their country of origin. But more importantly, it’s a sharp and raw portrait of contemporary race relations, depicting just how different an experience it is to be African in America and to be an African-American. Adichie’s hilarious, sparkling prose make her characters so true to life you’ll learn big lessons about relationships and gender dynamics without even trying. -Priscilla Frank

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19. Everything I Never Told You, Celeste Ng

In the moment, Ng’s book is a thriller, one that tells the story of a high-school girl’s abrupt death amidst the rumor mill of a 1970s-era college town in Ohio. The story lingers as a familial portrait, though, one that reflects on the roles our parents, siblings and children reluctantly play in order to keep the nuclear unit afloat — and the impact of the secrets we all keep from each other. While the novel is just over 300 pages, it packs a punch, spanning the early murmurs of feminism as well as the racial biases of 20th-century White America. Overall, it’s a stunning glimpse into the generation that preceded Millennials. -Katherine Brooks

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20. Midnight’s Children, Salman Rushdie

“To understand just one life you have to swallow the world,” says protagonist Saleem Sinai. The novel charts a group of children endowed with magical powers who were born just before midnight on the eve of India and Pakistan’s division. Its scope is massive — reaching through generations and decades of political intrigue — but it focuses the telling of history in the tragedy of individual lives. Rushdie’s novel is an exceptional introduction to postcolonial writing. It asks us why we tell stories the way we do, and then proposes a some fantastical alternatives. Be prepared to swallow its world. -Colton Valentine

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21. The Sense of an Ending, Julian Barnes

Barnes’s Booker-winning novel is a short, emotionally demanding read about nostalgia, and how we process and make sense of our wending memories. Middle-aged protagonist Tony has allowed himself to become comfortable with his life as a cordial divorced man, until an unexpected letter forces him to rethink his friendships of yore, especially his connection with the intellectually serious Adrian Finn. In doing so, Tony — and Barnes — sheds light on the relative nature of time, and how we determine what we value most. -Maddie Crum

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22. Housekeeping, Marilynne Robinson

Every reading list should have some Robinson on it. The pre-30 years are a particularly apt time to read Housekeeping, her first novel and the only one not set in Gilead, Iowa. The tale is narrated by Ruthie, a young girl who, along with her sister Lucille, is left with an itinerant aunt after their mother takes her own life. An aura of the uncanny hovers over the lives of the threesome, as their aunt struggles to stay in town to care for the girls despite her wanderlust and obvious disconnect from society. Housekeeping makes vivid a sense of displacement and identity confusion that will cut right to your soul. -Claire Fallon

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23. Delta of Venus, Anais Nin

Nin’s collection of short erotica is one of the first from a female perspective. They were originally written for a private collector, who directed Nin to leave out the poetic language and focus on the sex. However, Nin’s evocative voice sparkles throughout in the bewitching and nasty tales touching on themes from masculinity to incest. -Priscilla Frank

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24. Lesabéndio: An Asteroid Novel, Paul Scheerbart

Written in 1913, Lesabéndio is equal parts philosophy and science fiction that mines an eternal debate: what is more valuable, construction in the name of science or creation in the name of art? For those pondering a professional future beyond their humanities educations, Scheerbart weighs the importance of technical discovery, aesthetic progress, and collaboration between artists and scientists. Bonus: Lesabéndio is one of the most original alien characters out there. -Katherine Brooks

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25. On the Genealogy of Morality, Friedrich Nietzsche

Perhaps the most polarizing philosopher on record, Nietzsche outlines a controversial ethical theory that will leave you well-equipped to spar with pseudo-intellectuals. His writings inspired a great deal of 20th-century thought — and a lot of late-night dorm conversations. So even if you hate him, it’s worth working through his ideas to articulate why. Spoiler: it’s actually far more complicated than “God is dead” nihilism. -Colton Valentine

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26. Leaving the Atocha Station, Ben Lerner

Lerner, most recently of 10:04 fame, forayed into novel-writing from poem-crafting (much to the delight of story lovers!) with Leaving the Atocha Station. Narrator Adam is a poet living in Spain on a fellowship, but more than writing he spends his time wandering around museums, smoking, and pursuing women. Comically self-effacing, Adam is restless youth personified. Aware of his flaws and shortcomings but unable to correct them, he instead invites the reader to witness his wanderings and musings firsthand and unfiltered. Lerner manages to make a potentially self-indulgent story a delicate portrayal of youthful idealism. -Maddie Crum

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27. Persuasion, Jane Austen

If you get to 30 and haven’t read any Austen… well, for shame. One of the creators of the modern novel, Austen isn’t just historically important; she’s acutely observant, laugh-out-loud funny, and full of timeless truths. Any of her major novels would be valuable reading, but don’t miss Persuasion. Her final completed novel, it lacks some of the vibrant hilarity of her earlier hits but makes up for it with its hopeful spirit. It’s a quiet story of youthful impressionability, living with regret, and finding second chances, full of wisdom for those of us suffering life’s first knocks and looking back on our first big mistakes. -Claire Fallon

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28. The Painted Word, Tom Wolfe

If you hate modern art, you will love this book. Even if you love modern art, you’ll probably love it. Wolfe’s irreverent takedown of art-world bullshit will make you feel so much better about your lukewarm feelings for Damien Hirst. Even if you disagree with Wolfe’s overall cranky message, it’s the best way to learn a lot about art while also laughing very hard. -Priscilla Frank

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29. Girls to the Front, Sara Marcus

Music nerds, assemble. No one should leave their 20s without understanding the impact of riot grrrls on contemporary culture, be it art, music, or feminism in general. Read this book, listen to every band mentioned, and relish in the DIY, “Rebel Girl” ethos of Kathleen Hanna and her ilk. -Katherine Brooks

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30. Waiting for Godot, Samuel Beckett

A stark tragicomedy featuring two characters that wait and wait and wait some more. Language and relationships break down, hope fades, and we’re left wondering whether Godot is a mere symbol for the absence of modern spiritual salvation. Beckett may not offer much hope for your 20-something uncertainty, but at least his work reminds you that the rest of the world is also waiting for something miraculous to happen. -Colton Valentine

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Tips for Writers on How to Price Their Work: Social Media

money from sky

How to charge for something you contribute as a writer is always a bit of a question for writers starting out as freelancers.  I had someone write me today about Social Media writing and how to charge for everything from Landing Pages to Blog Posts.  This is a great article that cuts to the chase, by a site called The Content Factory.  You will find their website at the end of the article.

I will make it my business to find the best answers out there for ghostwriters, freelancers, article writer to children’s book writers since there is no need to reinvent the wheel when so many great sites are up and running to help answer these questions.  This article helps those wanting to HIRE a writer and how to price their projects.

Next time I will talk about ghostwriting a novel or a screenplay.

The Content Factory On Writing for Social Media:

Judging by the popularity of our blog post about how much social media marketing costs, people are very interested in how much agencies and freelancers charge to manage social media. In fact, that post is currently ranking #1 in Google’s search engine results pages (SERPs) for a variety of keywords associated with that phrase. So, we decided to write a post about how much professional web content writing costs. This pricing guide has been updated for 2014, and will tell you how much it costs to outsource landing pages, blog posts, press releases and other web content – both for our agency and in general. We did quite a bit of research, so you won’t have to!

Side note: if you just want to know about The Content Factory’s web content rates,click here to review our generic proposal that outlines everything we do and how much it all costs. PR, social media marketing and content marketing is also included in our larger packages.

There are many different types of web content writing, each with different price points. Most of our web content writing services involve one of the following:

  • US_Dollar_banknotesLanding pages — Involves writing content like you see on our home, about and services pages. They should have distinct calls to action, include the SEO keywords you’re trying to target and be somewhere in the range of 250-450 words long (depending on the design of the site). The purpose of landing pages is to convert browsers to buyers, and having amazing content can make a huge difference in your conversion rates. Poorly written content can seriously affect your sales. Landing pages are the most difficult to write out of all the web content, which is why they’re so expensive.
  • SEO blog posts — SEO blog posts (also known as SEO articles) are one of the easiest ways to increase your website traffic. They drive SEO, fuel social media marketing campaigns and are a good way to introduce people to your brand. Blogs give people a reason to visit your website, and once readers are there they tend to click around a little. In a directly indirect way, blogs drive sales.
  • Mini blog posts — These are the same as regular blog posts, only e-mailed to the client as a Word file. Most of our clients have us post the posts directly to their websites (we include relevant tags/categorization, social bookmarking and other extras), which saves them time and costs them more money. Choosing the mini blog post option takes the client a little more time, but saves them some cash. Toe-may-toe, toe-mah-toe.
  • Linkbait articles — These are like standard SEO blog posts, only twice the length and hyped up on awesome. Designed to go viral, linkbait articles tend to be provocative in one way or another. There’s a huge amount of effort and talent involved in writing linkbait articles, but the traffic payoff is often worth the per-word rate.

So, how much does all this web content writing cost? It’s hard to say, because most companies don’t advertise their prices. Here’s what we were able to find out, though:

How much do landing pages cost?

Landing page content is where you want to drop your money, since it acts as your website’s silent salesman. If your web content is coming off like a sweaty and desperate used car salesman, it’s not going to convert and your sales are going to suffer. Who cares if you’re getting a ton of traffic if none of it is converting into actual sales? With that said, how many Benjamins should you expect to throw at your website copy?

This is one instance where it’s difficult to tell what companies really charge for landing pages. For example, at The Content Factory, we only write landing page copy. We don’t develop or design websites — instead, we specialize in writing the words that go on the pages and outsource the design aspect to one of our agency partners who (surprise!) specializes only in designing amazing and functional websites. Many web design businesses roll the cost of the content writing into their design fees, and then scratch together the content themselves. This is why so many websites have such crappy landing page copy.

There was a really interesting forum discussion about it, though — and some professional landing page writers quoted $1,500-$25,000 per page of content.

Now, I’m not going to argue that there isn’t a ton of time involved with creating landing pages that convert. But $3,000-$4,000 per page still seems excessive. When you consider that you’re looking at five or more pages per website, the actual cost of content comes to $15,000-$20,000about the cost of a new compact car.

Here’s the argument these and other people use to justify such expensive fees: if you pay more for content, you’ll get a better conversion rate and the extra sales will make up for the obscene per-piece rate. That may hold true for a luxury car dealership, plastic surgeon’s office or home remodeling company, but only because they make so much money on each transaction — and the truth of the matter is that most businesses don’t. The majority of the people who come to us for web content writing services make less than $500 profit on each sale, or are fresh startups that don’t have that kind of capital. For them, that argument just doesn’t work (especially not in the short-term).

At The Content Factory, we bill for landing pages by the word — $1 per, with a project minimum of $750. On rare cases it may cost slightly more, depending on the complexity of the subject and research involved. Our landing pages are usually around 250-500 words and most clients need five pages of content written, which means thatthe average 5-7 page website content project costs between $1,500 and $2,000, including all edits.

For that price, you get pretty sweet copy — the copy on our site features a certain tone that we find preferable, but when we write for clients we do so with their preferred tone. We’ve written content for large law firms, real estate agents, adult e-tail sites, startups and everything in between. Everyone wants something a little different, and we can modify our writing style to deliver exactly what the client wants.

How much do SEO blogs cost?

For our regular SEO blog posts, we charge between $80 and $750 each, depending on the length and how many you want (we give bulk discounts). If you want a 2,000+ word in-depth article that features interviews from industry experts and thought leaders, it’s going to be on the higher end of the spectrum. Our rates include posting the content to the your website, using proper tags/categories, formatting, etc. If we have access to your analytics, we’ll even target our topics based on the popularity of past posts. If you’re looking to save some money and know how to publish the blogs yourself, we’ll e-mail the Word docs and let you take care of the posting and promotion. We call these “mini blogs” and charge $60 per. Plus, we give bulk discounts for orders of 10 or more.

Another thing that isn’t really outlined is the most important: content strategy. Before you can execute a successful content marketing plan, you need to know:

  • Everything about your target audience
  • Which keywords to target, to target the target audience (is that enough targeting?)
  • How difficult the keywords will be to rank for
  • Which keywords your site currently ranking for
  • Which keywords the competition is ranking for
  • Which keywords are more likely to convert
  • If your site needs any tweaks on the back-end for better optimization (we useSEOsiteCheckup – it’s free, fast and VERY easy to understand, even if you know nothing about SEO)

This all takes quite a bit of time, knowledge and experience – along with a dash of A/B testing. It’s unclear if strategy is included in these rates, but at TCF we complete comprehensive keyword research and competitive analysis for $1500. This also includes coming up with a content strategy to target keywords, while also appealing to your target audience in a way that will get the keywords searchers to convert into paying clients or customers. It’s something we’ve done with great success for our website, and we’ve helped clients achieve similar goals.

How much do linkbait articles cost?

Linkbait blog posts take much more time and talent to write than a standard blog post, although some of our posts turn out to be linkbait anyway (we can’t help it, sometimes our writers submit incredible work). The whole point of writing linkbait articles is to get as many sites to link back to you as possible, which boils down to getting more site traffic.

Linkbait takes a lot of time to write and even more time to edit — but it won’t cost you as much as a new Honda Civic. We weren’t really able to find too many  prices for linkbait articles, which I’m guessing is an indication that other content writing companies aren’t as hip and with it as we are. Christopher Angus, alleged SEO expert (he has a very nice haircut and a black and white headshot, which makes me trust him immediately), seems to think they cost $2,000 each.

Our linkbait costs around $500 each. Do we guarantee that each one will get you hundreds of backlinks? No…but nobody else can, either.

Other writing services:

There are a couple of other writing assignments that we get in on a regular basis:

  • Press releases — A professional press release writer knows how to format the damn thing correctly, which is the hardest part. Well, at least the second hardest part, since coming up with a catchy headline isn’t as easy as you’d think. Press releases should be written from a semi-objective viewpoint, so that journalists can copy/paste it into their articles and blogs.
  • E-mail newsletters — A good e-mail newsletter writer knows how to create a subject title that boosts open rates. Once the readers are in, it’s up to the writer to hold their attention and get them to click through to the website (or some other action). Great e-mail newsletters are hard to come by, which is why so many end up in the spam folder.

There are all kinds of BS prices listed online for e-mail newsletter and press release writing. You can find somebody on Craigslist to write either for less than $15, or you could pay $2,500 with a fancy online PR agency. We charge a flat rate of $1500 per press release, which includes writing, editing, distribution and promotion.

www.contentfac.com