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Why Write If No One Else Will Read It? - Diana DeSimine

2/28/2021

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A depiction of diarist Sei Shōnagon with attendants, c. 1683
When I go to thrift stores, I always make sure to snoop around the used book section. Thousands and thousands of pages full of writing, lying there to collect dust. What overlooked insight might they contain?

Often, unfortunately for me, not anything particularly interesting. Dr. Phil’s advice on how to lose weight; a wrinkled, old, lurid romance novel featuring its authoress, Joan Collins, on the cover in full Dynasty garb; kiddy books given away once their readers have grown too old. It’s the thrift store, not the Library of Alexandria, and I know not to expect much. Instead, I know to walk the aisle like its a graveyard, ruminating over the stories these dead books contain, paying my respects to the Halo novel whose cover is completely torn off, and appears to have suffered water damage.

Every so often, however, I come across something mildly interesting, at the very least.

It was a journal with Anne Gedde photographs of babies in flowers interspersed between its blank, snow-white pages, waiting to be written in—all but one, that is. A single page was fully tattooed with blue ink. I felt a thrill when I saw that on February 29th, 1996, a teenage girl decided to take a brief snapshot of her life:

“I feel that I have no one to tell my thoughts and feelings. Today was a good day, but then again I try to make every day a good day. My parents always hold these standards that I have to meet up to and sometimes I wish I could just forget them. I can’t, so I work hard in school, but it always seems that I don’t work hard enough. I’m a little worried of what’s gonna happen to me, but I guess I’ll just have to wait and see. I’m gonna try to keep this journal and write in it periodically. Besides, I need somewhere to keep my thoughts and this is just the thing I can keep them in.”

Needless to say, her experiment in keeping a journal failed after that one day. So, what of it?

Maybe I’m a nut, but writing, as a way to put a hold on and process our complex emotions and experiences, absolutely fascinates me. Here is the brief, inconsequential rambling of a random, worried teenager from two decades ago, and here I am, sympathizing with a stranger who I’ll likely never meet.

Hopefully, the author is still alive and well, and doesn’t even remember scribbling her thoughts onto that page. Whatever troubles she faced at the time, may have faded, or more likely evolved into different, more complex struggles. I can reflect on the times I have felt the same way as she did, and I recognize ways I have both moved on and fell back into those feelings. The fact that she never wrote in that journal again tells a story in itself. Perhaps that leap day in 1996 was just one bad day where she couldn’t contain her thoughts. Maybe she got too busy living to dedicate time to writing. Maybe she questioned her choice of a journal, and didn’t want photos of babies mixed in with her confessions. It was just a little page of messy thoughts, and yet, it made me feel nostalgic for a life I’ve never lived. In fact, it has me thinking of the strange times I’m living in now, and the others living it beside me. 

Everyone has their own story to tell. Everyone has their own unique lens through which they view the world. And yet, our stories are all intertwined.

Writing opens our hearts and minds to feeling understanding and connection towards ourselves, others, and life itself. Whether we, as writers, are exploring unanswerable questions, or we, as readers, are sympathizing with them, there is something universal and miraculous about this very human invention. Writing—even as a completely private endeavor—encourages us to understand and explore the ways that we and others view the world. Writing can be like a mirror to our own humanity.

Sei Shōnagon, a noblewoman who lived in 10th-century Japan, is one of the world’s most famous diarists. Although her diary, “The Pillow Book,” was intended for her eyes only, for centuries, it has offered colorful insight into classical Japanese high society. It has also enthralled its readers with a vibrant capture of the author’s wit, perception, and personality.


“I love the way, when the sun has risen higher, the bush clover, all bowed down beneath the weight of the drops, will shed its dew, and a branch will suddenly spring up though no hand has touched it. And I also find it fascinating that things like this can utterly fail to delight others.”

The fact that, through writing, I am able to read the thoughts and experiences of a person I will never meet—that we, as humans, invented this form of communication—fascinates me to no end. Despite time and distance, I can almost see what she saw. I can almost feel how she feels. Writing, like a photograph, can almost capture our complex societies, feelings, and souls. 

Even when we are only writing for ourselves, there is value in making sense of our experiences. Even if it’s trivial. Even if we’ll burn it after. Even if it will end up collecting dust in the back corner of a thrift store. And as we navigate this busy world, often foregoing any reflection at all, I, also, find it fascinating that things like this can utterly fail to delight others.

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Building Your Writing Platform - Helaina Parejo

2/21/2021

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Putting your writing, or any kind of art for that matter, out into the world is a daunting act of vulnerability. There is so much to consider when publishing a piece, whether you’re pitching a novel to agents, submitting your short story to an online platform, or uploading some poetry to your personal social media. One big question many writers eventually face is, how will anyone find this? For many creatives, the only thing worse than putting out the art they spent hours laboring over only to get terrible feedback, is to get no feedback at all. One way you can quell this sort of dread is to take matters into your own hands and promote yourself. By starting a writing platform, you have the potential to gain an audience before you even finish that first draft. 

What is a Writing Platform?
Essentially, a writing platform is any kind of self promotion or marketing that attempts to reach your target audience. Writing platforms can come in many forms from websites to social media to podcasts. Anywhere you can get your name out into the world is a good place to start. 

Beyond that, having a strong writing platform can make all the difference in how commercially successful your work becomes. Having some sort of following paves the way for many opportunities in your writing career. Publishers are more likely to take on authors who have pre-established followers. This is because it is a smaller business gamble to take on a writer who already has a dedicated audience. Publishing houses can use the size of a writing platform’s following in order to make essential estimates such as how many copies of the book to print and which styles of promotion will be the best to reach new readers. Even if you are considering indie publishing, having a pre-existing fan-base basically ensures that you’ll have people excited to read your book when it releases. 

Getting Started 
The backbone of any online platform is the website. Though it may not be the most alluring part of the process, it is essential to have a well-designed website that people can rely on for information about you and your work. A website that will promote you and your writing in the best way possible should include a short biography explaining who you are and the genre/style you predominantly write in, contact information, some of your strongest writing samples, and a professional-looking photo of yourself. Beyond that, feel free to get creative with how you deck out your website. You want your online presence to reflect you and your writing, so emphasize your personality through other aspects of your site. You can have an entire page dedicated to blogging about your favorite tropes, including some deleted scenes from your current manuscript, character art, anything. 

Beside your website, you will also want to have a few social media accounts where you can promote your work and link out to your website. Most social media experts encourage that new brands start with two social sites that you can post to regularly before venturing out to other platforms. When picking the social media you want to focus on, you should consider your target audience. For instance, if your writing is geared towards adults, you would want to look into creating a Facebook page. However, if your audience is on the younger side, something like Instagram would be a great place to gain traction. 

It’s also important to consider which social media sites would be best suited for your work. This means finding a website whose interface and algorithm would be most beneficial to the content of your book as well as the content you plan on creating. If you’re not sure which of the many sites are right for your marketing approach, you can look at writers who produce work similar to yours and take inspiration from their writing platforms. If you write poetry, you can model your social strategy after Rupi Kaur, whose instagram presence helped her to find success. Youtube, while slightly more time consuming than other social media, is a hotspot for writers and readers. If you write any form of YA or New Adult books, Youtube would be a perfect place to start researching for your platform. 

What to Post 
Now that you’ve narrowed down the social media sites you plan to tackle, It’s time to consider what kind of content you want to put out for your potential readers. When making this decision, you’ll want to tap into your creative mind. While taking inspiration from other writing platforms is a good way to start, you don’t want your content to look like a knock off or blend in with anyone else’s work. So, take some time to think about how your writing stands out from the rest, and use that to create a unique platform. 

Regardless of what you chose to post, it should be engaging for other users. There are many ways to build up a following on social media. The most crucial thing to keep in mind is consistency. Having a schedule and a list of pre-planned ideas can help you stay on top of your posts. And, if you do ever happen to skip a few days (or even a few weeks), don’t get discouraged, just pick up right where you left off. 

Other ways to grow your audience would be to vary the kind of content you post. If you only post self-promos, it’s not very likely that your audience will stick around. Try mixing up your profiles by posting snippets of your work, updates on your writing progress, fun world-building details, anything that will generate excitement for your upcoming works. 

Once you have an established following on a platform, you should focus on engagement and continued growth. There are many ways authors interact with their audience through social media. Some of the more common and successful approaches are going live to answer follower-submitted questions or offer advice, learning more about your audience through poll questions and responses, writing contests, and giveaways. No matter what you do, interacting with your followers will help you connect with your audience in a fulfilling way. 


While the idea of starting a writing platform may seem intimidating, the best way to deal with those nerves is by getting started. As you build your platform, remember that patience is important. No matter how engaging and groundbreaking your content is, it will take people time to find it. Staying consistent and persistent is the best way to go about creating public interest for your work. Your writing deserves an audience, and a writing platform can give it the opportunity to reach the perfect readers.

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The Rise of Quaranzines - Helaina Parejo

12/6/2020

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Very little has managed to remain untouched by the impact of quarantine. As many writers know, the publishing industry along with the writing community as a whole have taken some severe blows as a result of the pandemic. However, amidst the chaos of change that we have all experienced at some point, one integral part of the writing world has managed to stay intact. In fact, it has even flourished during lockdown. Zine production amongst Gen Z creators blossomed during the early months of quarantine. And, unlike the many fleeting trends that surfaced in the past year, zines continue to grow in popularity. 

A zine, also known as a fanzine or a webzine,  is a form of self-publishing where an individual or group creates a magazine-structured work of art filled with whatever they desire. Though there are some disagreements about when this style of publication began, many point to the 1930s as the birth of zines as science fiction fanzines were popularized. From there, zines took on different forms and roles in subcultures. Some of the most notorious eras of zines stem from 1970s punk and 1990s riot grrrl movements. With many subcultures and scenes utilizing zines as a mode of creativity and expression, one thing has remained the same:  that they are a staple for alternative communities. 

In 2020, indie and ‘alt’ teens found their place within the internet, allowing them to quickly develop similar fashion styles, music tastes, and interests. They have created their own community connected by social sites. However, with the abundance of free time created by lockdown last spring, a few teens took on the task of self publishing. Slowly, promotional pages for indie zines started to pop up on the Instagram ‘explore page’ and Tik Tok’s ‘for you page’. And then, it caught traction. Just by liking one post from these accounts, you could find yourself falling down the rabbit hole of Gen Z zines. Hundreds of accounts with followers ranging from the hundreds to hundred thousands exist, and for the most part, all of them have open submissions. In the matter of a few months, alternative internet communities have managed to move beyond pixels. Using social media, they have gathered photography, articles, short stories, poems, fashion advice, short films, and practically any form of media you can create from people around the world and turned it into a tangible zine. 

With this renewed interest in zines, Gen Z is also changing the production process. Prior to the internet, zines were more of a local venture. Often, someone would come up with an idea for a zine and create it themselves, sometimes as a solo mission, and other times with a team of close friends. These were the sole contributors. Distribution looked different as well. Zines were traded, sold, or simply given out at practically any and all places including book stores, record shops, zine fests, and concerts. 

Rowan University professor and zine enthusiast, Jason Luther, recounts zine production when he first got involved in the culture during the mid-90s, “My parents had a basic DOS-based computer which had both pre-AOL internet service called Prodigy…. I basically remember writing terrible essays, record reviews, and type up interviews with bands I reached out to and then print them out on a dot-matrix printer.” As for the means of distribution, he comments, “I’d assemble these in my kitchen and mostly sell copies at shows by just going up to strangers (which I absolutely hated). Eventually I would drop some at local record stores in Buffalo”. 

As for these new-age zines, things function a bit differently. Instead of having one or a few contributors, most of them utilize submissions from across the world. This allows them to have a more diverse outlook as they include many distinct voices. Still, they can face the issue of continuity. With so many contributors, it can be difficult to get a cohesive voice and tone across articles. Distribution is also extremely changed. Especially with social distancing mandates temporarily closing venues where zines were traditionally sold, publications are mostly reliant on online orders. Aside from that, zines are also slowly sneaking into the corporate world that they once rallied against. As Luther mentions, “They also circulate there [social media], blurring distinctions between print and digital, and are sold via places like Etsy and Urban Outfitters, which are corporately controlled spaces”.  

While this change may not seem that substantial to people outside of the zine production, it means a lot to potential contributors and their submissions. Younger writers now have an entire different side of the publication world to explore. Most professors and writing mentors will suggest that newer writers focus on sending their work to literary magazines. Of course, there are many benefits to submitting to more traditional magazines, however, there is a certain freedom that only zines possess. 

“Zines are raw,” remarks Luther. “Zines today are much more focused on identity…”. Zines offer contributors and readers alike a way to see a reflection of themselves in print where they otherwise wouldn’t within the confines of mainstream media. Which is why having a wide variety of voices in contemporary zines is so important. Without diverse perspectives and alternative outlooks, zines would not have the charm that has allowed them to maintain vital parts of subcultures for so long. 

So, submit your work to a zine! Let your most honest and truthful writing be seen. “Submit to one, sure!” Luther suggests, “but also, make your own! That’s how communities develop and how you’ll create writing that is specific to your audience.” Creating zines is a great way to express yourself and highlight your interests without any limitations. There are no word counts, no prompts, and no rules. 

If you attend Rowan and are fascinated by zines and the world surrounding them, make sure to check out Jason Luther’s course offered Spring 2021 semester, Self Publishing. Beyond learning the ins and outs of self publishing, students will also have the opportunity to create their own zines with guidance from Luther himself.
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Why Do We Read? - Tara Grier

11/29/2020

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We are introduced to books at a very young age. They are read to us as forms of entertainment and bedtime stories. We learn to read using them. We learn how to tell stories. If you’re a writer, books most likely had more of an impact on you than most. I think it is this that should make us aware of the responsibility we have to readers to make stories that make them feel safe, seen, and enthralled. 

In order to do that, we have to explore a fundamental question: Why do we read anyway? More specifically, why do we read fiction? If we are not reading for the purpose of research, why do we still pick up the books? Why do we feel compelled to reach for the book about dragons, the books about everyday life, the love stories? Why do we choose books about people who offer different perspectives?

Why do we read? 

That answer may vary from person to person. Some may read books that remind them of their own lives, they want to feel seen. Some want the exact opposite--they want a book about an entirely different world with characters nothing like them. They want an escape. Some read to learn about others’ experiences. Some want to be comforted by a story, while others want to be frightened. Some prefer happily ever afters, while others long for a tragic or bitter-sweet ending. Our tastes and what we want evolve over time. We become different readers, and therefore different writers. But does what we read at younger ages influence what we read as we grow up? 

After asking about ten people, I found various results. There were a lot of the same favorite books from childhood. This may be due to the fact that most of the people I asked were in the same age range. Popular favorites during childhood include Junie B. Jones, The Magic Treehouse, The Gallagher Girls, Percy Jackson, Harry Potter, The American Girl Doll books, and Diary of a Wimpy Kid. I think this selection of books makes perfect sense. Kids love using their imagination, so books series such as Harry Potter, Percy Jackson, and The Magic Treehouse give them that outlet. On the other hand, Junie B. Jones and Diary of a Wimpy Kid offers a relatable story that helps kids feel seen--and they’re humorous. 

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Popular books that were listed as favorites now include One of Us Is Lying, Darius the Great is Not Okay, Simon vs The Homosapien Agenda, The Perks of Being a Wallflower, and Welcome to Night Vale. Like the books from childhood, each of these books aim to either be relatable and show voices that may have not previously been given a platform, or to create an entirely new world where we can escape to. These seem to be the primary reasons for why we read. 

More than anything, we remember books that make us feel things. Sometimes specific plot points and quotes get blurry overtime, but  what lasts is the memory of how that book-- its story and its characters--made us feel. 

So what does this mean for us as writers? 

I think that if you do write creatively and you aim to write novels, it's important to create art that is authentic to you, but you should also consider the audience. Not only from a marketing perspective, but think about how they might benefit from your story. Are you going to offer them solace, escape, education, or comfort? 

It’s important to consider what we want out of a book when we read it, and apply that to our own writing. Of course write what fulfills you as a storyteller, but remember that if you are meaning to share this story with the world, it will impact others as well. This is the ethical responsibility of writers. Considering how your words are going to affect readers, especially when writing for children or young adults, is vital to the process. 

The correlation between people’s favorite books as children vs now seems to be that in both cases, at these very different stages in their life, they are seeking escapism and/or visibility. It is our job as writers to give that to them. One other thing that fiction does for readers is offer a different perspective. 

We only have this one life, and it's sometimes hard to grasp the many different types of lives other people are living. By reading about the lives of people different from us, fiction encourages empathy and understanding. This is why it is so important to uplift voices of marginalized groups in fiction, as well as other genres. Not only does it help marginalized audiences feel seen, but it offers a new perspective for those who may have never considered how other people live. 

Something interesting that I noticed while comparing responses to the most popular favorite books as children vs now is that as children, it seems most of the books read were very white, heteronormative, and male dominant in terms of characters and plot. However, looking at the more popular books as the respondents grew up, there is a lot more diversity in terms of race, sexuality, ability, and gender. This may be due to the fact that exploring identity is a convention of the Young Adult genre. But it is important to explore these themes in children’s books as well. From a young age, children should be able to see themselves and people different from them in these stories. While I think this is improving, the work is nowhere near done. 


This all ties back to that question. Why do we read? 

To feel seen, to escape, and to learn. To understand and to be understood. That is the goal of reading, and therefore, the goal of writing. Our perspectives as readers have to feed into what we write. Passing on what you get out of reading, whatever that may be, into your own writing will give others the opportunity to experience the reason you love reading. Isn’t that the point of storytelling? 


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Sidestepping Stereotypes: An Interview with Students Scott MacLean and Georgia Iris Salvaryn on LGBTQ Stereotypes in Literature--Marissa Stanko

11/22/2020

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Stereotypes abound in literature. They become part of formulas, stock characters or situations that are used across genres. But stereotypes are just generally accepted assumptions about groups of people, and many times, not only are they untrue, they are hurtful and dehumanizing. Everyone deserves representation in literature. I’ve gathered two members of the Writing Arts student body and of the LGBTQ community, Scott MacLean and Georgia Iris Salvaryn, to discuss LGBTQ stereotypes in literature and how to avoid them in writing. 
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Writer’s Insider: What harmful stereotypes have you seen in literature and other media?
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Scott MacLean: So one of the most prominent stereotypes that I see usually involves gay men being obsessed with straight men or straight-acting men. It reinforces this predatory idea that all gay men want to seduce masculine straight guys. Another thing I've noticed is sometimes it seems like they include a gay character just to check off a box, and then the character is just a shallow one-dimensional character with no backstory or progression (e.g., the gay best friend). The worst stereotype is the fixation on sex, as if that is all gay men care about and they just can't control their libido. So many of the movies I've seen that are labeled "LGBTQ" are about drugs, partying and sexual encounters. 
I think sometimes people are just trying too hard when they write gay characters or not nearly hard enough. I'm also so tired of seeing gay characters die or have unhappy endings. Why can't they get married in the end? Why can't they ride off into the sunset? I understand it's important to show the struggles that people in the LGBTQ community face, but I don't think that every story has to end in tragedy.

Georgia Iris Salvaryn: I have only recently started reading and watching LGBTQ literature and media, but I have heard that many times, the author/creator forms their LGBTQ characters based on mainly stereotypes. I'm personally not sure if that is just something that is "inescapable" (in other words, if the person who wrote the book or created the media doesn't identify as that sexuality, how can they otherwise write the character if not based on some stereotypes?) or if it's their choice to create generic characters and/or "drama" within the story.  

“Sometimes it seems like authors include a gay character just to check off a box.”
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WI: What stereotypes have you encountered in real life that you don't want to see in books?

SM:
One of my biggest struggles is maintaining friendships with straight men. They often believe I'm hitting on them or secretly fantasizing about them when I'm just being a normal human being. I love when I see stories with gay male characters that have straight male best friends, because there is no reason that can't be reality. The biggest stereotype I want books to avoid is the oversexualization of gay men. I'm so sick and tired of hearing the same stories about wild nights and drug-filled sex. Give me stories where the main character is LGBTQ and it does almost nothing to affect the plot of the story! We are so much more than who we love!

 
GIS: I have been told, as a bisexual woman, that I am "just confused" and eventually will discover I am a lesbian or I am straight. The person who stated this also said something along the lines of, "There is no such thing as bisexual. You have to pick one sex over the other. You are just either experimenting or confused." 
WI: How do you feel about “LGBTQ fiction/nonfiction” being a separate category that is rarely intermixed with general fiction and nonfiction?
 
SM: I think it just furthers the separation and enables the narrative that it's abnormal or "other." While I appreciate that if I want to find an LGBTQ book on Amazon I can search in that specific category, it still makes it seem like it's somehow different than a story with straight characters. Why is heterosexual the default? If there are two love stories with the same plot but one of them has two gay men as the main characters that doesn't change the fact that they're the same love story. It almost seems like a way for the norms to stay norms: a straight person who doesn't think to search for an LGBTQ story may never encounter one and can remain completely unaware of the fact that such stories even exist. 
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GIS: I think the subgenre "LGBTQ" is helpful for people who want to read the literature and explore those authors and narratives, just like "African-American/Black" is helpful for people who want to read and explore those authors and narratives. I know that, having these labels, they aren't placed in the general fiction and nonfiction section. If they just meshed all of the these books together in the general category, it would allow others to explore these authors and narratives without the discrimination.


​“Why is heterosexual the default?”

WI: Even within the LGBTQ community, there is a lot of strife and misrepresentation. How would you recommend approaching writing a character that you don’t personally identify with?
 
SM: I think it's simple: write them how you'd write any character. Now it's one thing if you're straight trying to write a harrowing tragic coming out story because that could be a recipe for disaster. But if you're just writing a story with an LGBTQ character, just write how you'd write any story. Being LGBTQ is just one aspect of a person, it's not the entirety of their being. 
If the goal is to write about the difficulties faced by individuals in the  LGBTQ community, I'd recommend reading stories written by LGBTQ authors or simply reaching out to people you know that are LGBTQ. Do your research, just like you would for a character from a different time period, or one that lived in a different setting. There are plenty of straight authors that go on to write wonderful stories about LGBTQ characters, and they do so by remembering that we're all just human beings living our lives, not stereotypes or abnormalities.
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“I think it’s simple: write them how you’d write any character.”
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GIS: I have always been a curious person. With this in mind, I went for journalism as my undergrad degree and have had much experience interviewing different people with diverse backgrounds, from different communities, etc. As someone who might be approaching writing a character that I don't personally identify with, I would seek out literature, such as articles, blogs, and memoirs, to learn more, read more about those experiences and eventually, find people of that identity who are willing to give an interview.
However, as a bisexual woman, I cannot speak for all bisexual people. So, as a way to include other voices, I would look for other bisexual women and men and ask them about their identity and experiences. Therefore, the character would not be solely based on my own experiences but on a combination of experiences that, I believe, would make the character more well-rounded and real.​

“I would write a character not solely based on my own experiences, but on a combination of experiences.”
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WI: One thing that I notice a lot in books is that authors make an LGBTQ character’s whole personality being LGBTQ, automatically “othering” them. Or, they avoid specifying that the character is LGBTQ. What are your thoughts on that?

 
SM: It's so ridiculous when I see such an offensive stereotype put on display. I will say the flamboyant gay best friend can always find a way to make an appearance and while there is nothing wrong with being flamboyant, it's definitely harmful when that's the only aspect of their character. LGBTQ people have wants, dreams, likes and dislikes just like everyone else in the world so it's insulting to make it seem as if we're all so shallow and one-sided. ​

As for queerbaiting, I think it's a huge problem. Writers, whether it be in television, movies, or books, create these situations that draw in the LGBTQ community without ever delivering. I think it's their way of "keeping the straight community" while upping the LGBTQ viewership, which frankly is insulting to straight people too. It's as if they think straight people wouldn't dare to watch a movie or read a book with a gay main character. I watch movies with straight people all the time, what makes them think an openly gay character would lower ratings? 
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WI: Why do you think people are so afraid to write what they don’t know, and so unwilling to understand those who are different?
 
SM: I think one aspect of it could be the cancel culture of the internet. People are terrified to make a mistake so they never try. I don't believe it's necessarily because they don't want to understand, it's more that they don't ever feel the need to attempt such a feat. Part of it is the fact that they feel comfortable writing from a perspective that's relevant to their own personal experiences. A lot of writers probably never even consider writing from the viewpoint of someone other than a straight person. 
 
The fact that there is a clear lack of representation further proves that we need more LGBTQ authors. If nobody else is willing to tell our stories, we have to tell them ourselves. We need to lift up these narratives so they become part of the mainstream because these incredible stories deserve recognition and admiration. 
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“The fact that there is a clear lack of representation proves we need more LGBTQ authors.”
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GIS: There will always be stereotypes in literature, whether it's the LGBTQ community, the African-American/Black community, the Asian-American community, etc. This lack of awareness is based on an author's/creator's "unwillingness" to branch out from their field of understanding and laziness to commit to research; therefore resulting in a stereotype-based character or characters. 
 

“I do believe, however, over time, authors and creators will evolve and learn from past mistakes; hopefully, mustering up the willingness to commit to research and reaching out to people outside of their own community.”
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I do believe, however, over time, authors and creators will evolve and learn from past mistakes; hopefully, mustering up the willingness to commit to research and reaching out to people outside of their own community.
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In short: LGBTQ people are not the stereotypes associated with them, and those stereotypes have no place in writing. 
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The Beta Reading Process in Three Steps - Helaina Parejo

11/15/2020

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One of the most nerve wracking yet rewarding parts of the writing process can be sharing your work for the first time. It’s likely that you’ve been working in solitude on your piece for months or even years and you’re finally ready to move forward. Whether that be pursuing self-publishing or querying agents, it’s critical to get outside feedback on your book before considering publication. 

Most writers get this necessary feedback through the beta reading process. Beta reading refers to the process where the writer of a piece allows a few individuals to read their work and offer critiques on it before taking the next steps in publishing. While it seems like a pretty simple concept, there are many variables and aspects of the process that are left open ended, or up to the writer to decide. Because of this, when looking for tips on the beta reading process, many new writers stumble upon contradicting information and opinions. This makes it difficult to begin the process and feel confident that you are conducting it correctly. 

The beta reading process can be a confusing one to navigate, but following some simple tips can help you create a process that works best for you, your work, and your beta readers. 

Do You Need To Have Beta Readers? 
For many new writers, the beta reading process appears daunting. They don’t know where to begin, how to find readers, or how to conduct reading surveys. Oftentimes, they opt to drop the process completely rather than expose themselves to feedback. While it is truly up to you to decide if you want to go through with the beta process, almost every professional writer would urge you to complete it. 

There are many benefits to working with beta readers. The feedback provided is a first glimpse into the mind of outside readers, (hopefully) unbiased and ready to critique. It also acts as an opportunity to make lasting connections in the writing and publishing community. Keri Mikulski, an accomplished author and Writing Arts professor at Rowan University remarks, “The most beneficial part of the beta process is the relationships that have grown out of sharing work and being vulnerable with each other”. The beta reading process is a way to share your writing and practice being vulnerable with people you trust before sending it off to the far more intimidating eyes of professional editors, agents, and publishers. 

Step 1: Preparing the Process
Deciding how you would like to conduct the beta reading process can be overwhelming. There is no guidebook or clear-cut instructions on how to go about sending out chapters, how to contact readers, or how to set a timeframe for the process. This is because every writer does it differently, sometimes even changing their routine depending on the project or the beta reader. 

While there are many components to the process that can be flexible, there are two key things to keep in mind when preparing to contact beta readers. First, make sure that you provide clear deadlines for when you would like each section of chapters (or the entire manuscript, if you are sending it out all at once) to be completed along with the corresponding questionnaire. In the same realm, you will want to tell your beta readers how long the process will take from start to finish. While the end date does not need to be exact, you will want to be honest about how long your manuscript is as well as how many weeks/months it will take for them to read it within your allotted deadlines. 

Step 2: Finding Beta Readers 
Now that you have a set procedure for your beta reading process, you need to actually find some beta readers. This part can be challenging for many new writers as they are still attempting to build their writing community. If you are comfortable, you can try finding beta readers, or critique partners using social media or online forums such as Wattpad, the NANOWRIMO website, or Authortube (YouTube channels dedicated to writing). 

If you would rather stick to people you know, you can always try reaching out to friends and family. While they may not have the deep insight or critiquing practice as fellow writers, utilizing friends’ and family members’ opinions can give you a better idea of how the general public will view your work. 

Step 3: Coming Up With Questions 
One of the most exciting parts of the beta reading process is finally getting to ask the questions about your work that you’ve been harboring in your mind for a long time. You have some valued opinions at your disposal, so the pressure to ask the ‘right’ questions is definitely present. Still, it can be a difficult list to curate. Through my personal experience, I found it most helpful to include questions specific to each chapter chunk while also adding recurring, more general ones that can be applied to almost any work of writing. 

My three favorite questions to include in my beta reading surveys are: 
  • Did the characters and their actions feel believable? 
  • When did you first put the reading down? 
  • What are some of your predictions for the rest of the book? 

While many writers rely on certain questions to garner more specific feedback, others allow the beta readers to offer insight wherever they see fit by not giving them a survey. Mikulski states, “At this point in my career, I have a few beta buds that I trust, and we know each other pretty well as writers so I don’t normally have to include questions with my critiques. However, sometimes, depending on the needs of the project or specific areas in my work that I’m feeling might be lacking, I might include questions focused on those areas”.  Both methods of receiving feedback have their strong points and drawbacks. It is up to the writer to decide which method works best for them and their readers. 


Now that you’ve compiled all the necessary tools for the beta reading process, the only thing left to do is sit back and wait for the feedback to roll in, which will, admittedly, probably take longer than anticipated. Still, the wait is well worth the feeling you get your first questionnaire submitted. Whether it is filled with criticism or overwhelmingly positive, won’t matter. It will all be overshadowed by the excitement over the fact that someone actually read your writing! In a bit, you will be able to look back on the critiques with fresh eyes and pick which advice you will carry through with you to the next round of edits. And you will be one step closer to publishing your work. 

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How to Give and Take Writing Feedback by Tara Grier

11/8/2020

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​As writers, we know that one of the most intimidating parts of the writing process is receiving feedback. When you’re in your writer bubble, tapping away at your keyboard, you are usually in the mindset that this is for your eyes only. Writing can be an extremely personal thing, and to share it with people, especially with the motive of being critiqued, is terrifying. No matter how good feedback has been in the past ,we always seem to be convinced that this is the time that we’re going to be told we’re the worst writers to have ever written. But that isn’t the point of critiques! No one is going to attack you personally, that isn’t feedback. While some of the critique may feel personal, especially if you’re particularly close to the work, it isn’t. 

On the other hand, it can be just as hard to be the one giving feedback. It would be easier for us all to smile and say “This is really good!” and move on with our days. But that does nothing to help the work, and nothing to help the author. Without different points of view offering feedback, we would never have the works of literary genius that we do today. 

Giving and taking feedback is difficult, especially if you haven’t had a lot of practice. If you’re looking for some guidance, or just a refresher, here is a guide to writing feedback. 


Giving Do’s

Do balance positive feedback and suggestions for improvement. 
From experience, you already know how nerve-wracking waiting for feedback is. It’s always better to ease in with a few things you like before diving into suggestions. Whether you want to use the sandwich method, or just make sure you have a good balance of both types of feedback, it’s up to you! If feedback is overwhelmingly negative, it can be very discouraging for the writer and they are more likely to get defensive. On the other end of the extreme, if it is too overwhelmingly positive, they may not think anything needs to be changed and their work isn’t improved at all--then what was the point in receiving feedback in the first place? Having an equal amount of positive feedback and critique is essential to the process for both the writer and the critiquer. 

                                                           Do ask questions 
                                                           If you don’t understand something, ask about it! If you aren’t                                                                 sure if you are interpreting something the way the author                                                                       meant, ask a question! It is always helpful to the writer to know if something is unclear. For you, it helps you fully understand the piece and the intent behind it. If you have never worked with the person you are critiquing before, and you can, sometimes it helps to get to know them as a writer too. What is their level of experience? What is their goal with their work? Knowing these things will help you provide the best feedback possible, because it will be more personal. 

Do consider the context 
In order to give the best feedback for someone’s writing, you should understand what the purpose of it is as well as the genre. A poem is going to need different critiques than a research essay, for example. These pieces of writing have different objectives, and therefore you will need to focus more on different aspects. For the poem, you would have a much stronger focus on language and structure, while for the research paper your priority may be clarity and sources. 

Do be concise
Try your best to get across your points in the clearest, most concise ways possible. Too much wordy feedback can be intimidating and hard to understand. The best way to do this is to get all of your initial thoughts down, then organize the information. It is important to be specific when giving feedback, but not so detailed that it confuses the writer. 

Do remember your motive
As you give feedback, remember that the point is to improve the writer’s work and offer your insight into what they did well. Keeping this in mind should keep you from drifting off on irrelevant points or unintentionally giving unconstructive or unhelpful feedback. 


Giving Don’ts 

Don’t let your own bias influence your feedback.
Remember that you are critiquing the actual writing, not how you feel about it! If you dislike a certain genre, this can’t influence the way you give your feedback. You have to be neutral about things like style and genre in this process. Try to focus solely on the content of the piece. This will make your feedback more applicable, as the writer will most likely not change entire genres just because you’re not a fan. 


Don’t be vague
You have to be specific in your feedback. Saying “I liked it!” is nice, but not super helpful. It is much better for the writer and their work if you provide specific instances that you liked their language, characterization, worldbuilding, etc. The same goes for critique-- saying it felt choppy is fine, but provide examples that made you feel this way. This makes it much easier for the writer to understand what you mean, and fix it if necessary! 

Don’t be afraid to be honest 
It can be tough to give constructive criticism! As writers, we’re empathetic in giving feedback and know that we ourselves are typically nervous to receive it. It might be your instinct to tell them their work is perfect, but try not to. This won’t help them or their work in the long run. It isn’t your job to tell them they’re the best writer in the world--their mom will take care of that. You are there to help them improve their writing. 


Taking Dos 

Do prepare yourself
Take some time before you listen to or read feedback for your writing to prepare yourself. It can be nerve-wracking, so use some time before to mentally prepare. Remind yourself this is going to help you as a writer. The more you go through this process, the more you will get used to it and even look forward to it. Preparing yourself beforehand will help you be a better listener and writer. 

Do be polite
If you are getting this feedback in person, listen! Try not to interrupt or speak until they are done unless they are asking questions. This allows them to get all of their thoughts out before you address their feedback. It makes the process much easier if you are both given times to speak. If you are reading this feedback, try to read the entire thing through without pausing to internally defend yourself or make comments. Give it time to process! 

Do ask questions 
If something isn’t clear, you can always ask questions! Try to let them finish first, unless they ask you if you understand and you need clarification. Ask for examples, clarification, or whatever else you need to better grasp their feedback. Remember, this is to benefit you! Ask as many questions as you have. 

Do summarize the feedback
A great way to comprehend all of the feedback given is to go back and summarize their feedback in your own words. This allows you to repeat the information in a way that will help you remember and better understand it. It also allows the person giving you feedback to clarify if you misunderstood something they said. 


Taking Don’ts 


Don’t take it personally
It can be hard not to take feedback personally, because often our writing is very personal. But for this process, it is much more beneficial to you to try to separate yourself from your work. If you are too close to it, you might not consider all of the feedback. This is supposed to make your work the best it can be! It isn’t personal if someone doesn’t like something about it, it just means that it’s a work in progress. 

Don’t disregard the feedback
Being defensive is a natural reaction, but try to think rationally. It is likely that at least some of the feedback you receive will improve your work. Of course, you can choose to dismiss some feedback if you really do disagree. It is still your writing. However, try to give all the feedback you receive a fair chance before disregarding it. 


Don’t avoid feedback in the future 
Nine out of ten times, receiving feedback will be a positive and helpful experience. Unfortunately, sometimes it isn’t. Don’t let this discourage you from reaching out again! As writers, we have to get used to rejection and hearing things we don’t always like. Feedback isn’t optional. In most cases, it will improve what you’ve written. That being said, it is helpful to work with someone you trust. 


Giving and receiving feedback is difficult, but the more you do it the better you will be. Afterall, what’s the point in writing if no one ever sees it? You want to be able to make your work the best it can be, you owe that to your writing and to yourself. Hopefully, these tips ease your nerves a little bit and can help you approach feedback -- whether giving or receiving--in the future.

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Your Guide to Writing Internships: Internal, External, and Beyond--Marissa Stanko

11/1/2020

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No matter where you are on your career path, an internship (or several) is an invaluable source of experience, connections, and new skills. As a Writing Arts major or minor, you have unique opportunities provided to you by the department: internal and external internships, as well as guidance to help you find internships and job positions on your own. 
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The first options available to you as a Writing Arts student are internal internships. You can work with the department, Singularity Press, or Glassworks magazine--or more than one!

Each of these offers specific opportunities for students to get a taste of the different possibilities a writing career offers. 

Interested in publishing? Singularity Press is a publishing startup run by Writing Arts professor Megan Atwood. 

Want to learn the ins and outs of producing a literary journal? Glassworks Magazine is run by the Rowan Master’s in Writing Program, currently headed by WA professor Katie Budris. 
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Looking to acquire general professional skills or develop your repertoire of writing? The internal department internship, currently headed by professor Amanda Haruch, is a great fit. 
As an intern for Singularity Press, you can immerse yourself in the world of publishing, working with authors, manuscripts, and administration within a press. You’ll review manuscripts, learning invaluable editing skills and balancing your opinions on a piece with an author’s vision for it. Behind the scenes, you can also get an idea of what it’s like to work with a startup, how to be enterprising and professionally creative. Responsibilities include soliciting pieces, doing grant research, planning events and outreach, and assisting with public relations and social media management.

This internship is available in the spring and fall semesters, and is designed for higher-level undergrad students with drive and an interest in publishing. 
If you’re a senior or entering into the graduate program, the Glassworks Magazine internship is an experience unique to Writing Arts. You’ll have the opportunity to work with an independent Rowan publication, learning the ins and outs of creating a literary magazine and maintaining its presence on social media and beyond. Your experience in this internship will vary slightly based on the semester you are accepted for. Spring interns help finish the current issue-in-progress, weighing in on what to include, and the layout of the magazine. They maintain the magazine’s social media accounts, contribute to event planning, and attend the AWP Conference to represent the magazine. Summer interns have similar responsibilities, with the possible chance to work on independent projects if time allows. In the fall semesters, Glassworks takes on one intern who works directly with the Editor in Chief to get started on the next issue and to help students in Editing the Literary Journal, a graduate course connected to Glassworks. The fall intern becomes the associate editor for that issue, and is also in charge of social media and reviewing content created by the assistant editors.
The Writing Arts Department internal internship connects you to students and professors while providing an opportunity to tailor your internship experience so you can choose specific skills to learn and engineer projects. It’s a great introductory internship, but it has benefits for more experienced students as well. There’s a whole host of things you can choose to learn about, from video and podcast editing to event planning to interviewing to writing reports. You can take this course for one semester or two, in the fall, spring, or even the summer. If you continue for a second semester and are interested in taking on a leadership position that is possibly paid, you can apply to become the head intern. Head interns oversee the other interns, run meetings, create yearly reports, and work directly with the intern supervisor. 
The WA department can help you find external internships that can also count for course credit. Dr. Gracemarie Fillenwarth oversees these internships, helping students find and apply for internships outside of Rowan. These internships can help you develop your hard and soft skills, expand your network, and even point you towards a potential career path. They provide valuable experiences that function as an alternative to coursework. 
You can take an external internship in any semester, although tuition rates will vary, and they are available to both undergraduate and graduate students. You can learn more about the job searching process when looking for internships, which can be found on ProfJobs, Indeed, Glassdoor, Chegg Internships, or through your own connections. Dr. Fillenwarth is available to help you craft individualized resumes and cover letters for each position you apply for. 
Once you are accepted for an external internship, you’ll keep track of your hours and the work that you complete. You’ll use these records to create a reflective paper at the end of the course, allowing you to see just how you evolved throughout your experience. 
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Finally, here are some key things to keep in mind for any internship. You may be hesitant about applying for them because you think you’re not qualified enough or you don’t have enough experience. Apply anyway! You can tailor your searches to fit the skills you already have, and many internships are designed as entry-level so you can gain experience. If you are a motivated, independent go-getter, you’ll be more successful in finding internships, and no matter what, the WA department is there to help you achieve your goals. 

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Five Ways to Build Up Your Writing Confidence - Helaina Parejo

10/25/2020

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As writers, it can feel as though we are constantly searching for new ways to identify ourselves. We take time to evaluate our writing techniques and quirks, such as whether we use Word or Google Docs, writing sprints or word counts, drink tea or coffee, are plotters or pantsers. With all this categorizing, there is one box many writers are hesitant to tick off:  calling themselves writers. It’s not due to dislike of the term, or even an attempt to dissociate from the struggling-author stereotypes. Rather, many people who are in fact writers refuse to refer to themselves as such due to lack of confidence in their work. 

Building this confidence as a writer is an important yet difficult process. Having confidence in yourself transfers to having confidence in your work. This results in allowing yourself to put in more effort and time into your writing as well as lessens the nervousness that can come with sharing your work. Confidence is an important tool for writers, yet it is easily shaken. Whether you’re trying to dig your way out of a writing slump, brave through a rejection letter, or tell your family you’re a writer when they ask what your future plans are this holiday season, these five tips can give your confidence the boost it needs. 

Remind yourself why you write 
Oftentimes, especially when working on longer writing projects or novels, it becomes difficult to see the light at the end of the tunnel. The piece can seem never-ending and even a bit superfluous. During this point in the writing process, a writer can easily lose motivation and even abandon their project, or writing as a whole. 

If you are starting to get these feelings, it is important to take a moment and ground yourself. Think about why you started writing in the first place. Consider the excitement you felt when you first started creating the piece. You can even take this a step further by drafting a list of reasons you write. It can be as brief or in-depth as you like. And once it’s completed, you can carry it in your wallet or purse for quick reference whenever you need the reminder. 

Don’t forget about your past accomplishments 
Totally immersing yourself in a writing project can be an amazing feeling and allow some of your best work to flow out of you. But, if you are only focused on one project, it can be all the more frustrating when feelings of discouragement start to worm their way into your thoughts. 

When this occurs, I suggest taking a look at some of your previous works and the accomplishments you’ve earned. These writing achievements don’t have to be a Nobel Peace Prize. Even accomplishments that seem ‘small’ are valid. For example, take a look at how many words you managed to write the other day, or how many likes your old blog post got. You can even look back on the piece you're frustrated at. Find an earlier paragraph that is beautifully written, or a sentence that fits together perfectly. How you find these achievements doesn’t matter, the real importance is that you’ve created amazing work before, and you can do it again. 

Share your work with someone you trust 
Letting another person read your work can be considered many writers’ biggest fear. As scary as it may be, it is an inevitable part of the writing process. And finding someone you trust who will give you some positive feedback can reinvigorate your desire to jump back into your story. 

Writing, like a lot of art, is lonely in its creation. During the drafting and editing process, it can be difficult to envision people ever reading your book, let alone enjoying it. Allowing the story to leave the confines of your mind and computer screen can help you remember that one day people will read your work and that your words will have an impact. 

Stop comparing yourself
Yes, that means putting down the book you’re obsessed with and stop daydreaming about how many novels James Patterson has written. Every ‘successful’ writer has gotten where they are in their own, unique way. You wouldn’t compare Rupi Khar’s path to success to that of Stephen King. So, don’t do that to yourself! 

Of course, it’s a great idea to look at other writers and how they got to be so well regarded, but you cannot discount the years of dedication and effort they put in behind the scenes. Rather than attempting to emulate one of your favorite writer’s rise to fame, try making a plan to carve out your own path. 

Let yourself write badly 
I’m not kidding. Your worst ideas, the ones you're embarrassed for even thinking, that you try to push from your mind and forget they ever happened, put them on paper. Make a list of all the ones you can think of, or jot them down whenever they pop into your mind. Then, read them over and expand on them. Treat these thoughts like they’re the result of the best bout of inspiration you’ve ever received. And once you’re done, you can take a look back at your work and one of two things will happen. You’ll either realize that what you’ve come up with is nowhere near as bad as you thought, or, you’ll still hate it. 

Both outcomes are perfectly fine! Once you recognize that you can write poorly without consequences, any fear of writing the ‘wrong’ thing completely vanishes. No one is going to shame or judge you, because you don’t have to show anyone. Once this hesitation is gone, you will feel more free to take risks and experiment with your writing, which could lead to some amazing discoveries.

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And if after all that your confidence as a writer is still not where you want it to be, keep in mind that even the most established writers doubt themselves. All creatives question the art they produce and often feel as though it isn’t worth showing anyone. But they do. And they keep creating. The more you push yourself to be vulnerable with your work and take risks, the more your confidence will flourish over time. Remember, your writing is valid and your work is worthy of being created.

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Freelance Writing As A Student By Tara Grier

10/18/2020

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For many students, it’s difficult to balance work and a full schedule of classes at the same time. Commitments quickly add up, and it can be overwhelming to say the least. At the same time, for writing students, writing as a job is the dream. Unfortunately, it’s nearly impossible to find work without prior writing experience. 

Luckily, there is a way to gain writing experience and make some extra money as a student at the same time: Freelance writing. Freelance writing involves writing blog posts, bios, social media posts, or whatever else a business or clients needs written. Over the summer, for example, I wrote for a pet blog. These jobs are typically short-term, and you remain self-employed. As long as you meet the deadline, you set your hours, and you can work in whatever space you’d like. 

Freelance writing is great for students because it allows you to work around your class schedule and work from wherever is most convenient. If you are looking into writing as a career, it is also a great place to find experience, references, and pieces for your portfolio. 

In order to find a job, you need to first identify your strengths. When searching through sites like Upwork and Indeed, you need to know what exactly you’re searching for. A lot of freelance jobs are very niche, and you should be aware of what you’re interested in as well as what you’re already knowledgeable about. Identifying your strengths will help you sift through opportunities and apply for jobs you’re most likely to get. 

It’s important to note that, generally, you won’t be making much money from this at first. Indefinitely didn’t, but it was enough to make some extra money, and now I have experience. Many well-paying freelance jobs require experience, and in order to gain that needed experience, you’ll have to take beginner-level jobs first. While these don’t pay much, they do pay. The more you do, the more experience you gain and the more you can build your portfolio. As you become more experienced, you can raise your rates. 

The length, topic, and time for each piece often varies job to job. This allows you to apply for tasks that specifically fit your schedule and that interest you. You should get used to pitching as well-- for every job, you will most likely have to write a letter explaining what you want to do for the piece, your past experience, and why you’re the best writer for this job. These letters should be brief, but be sure to show your interest in the topic and in the business/brand as well. 

So, where do you start? First, you’ll want to have a resume or cover letter prepared. Going in blindly and trying to apply for as many opportunities as you can might eventually work, but it’s always better to be prepared. Even if you don’t have a formal resume, be sure to have a list of any previous work you’ve done in one place so you can reference it when applying. When you’re ready to start searching for a job, remember your strengths and what you’re interested in. At the same time, keep an open mind. Even if you aren’t the most passionate about what you’re writing at first, it’s still gained experience. I’m not particularly passionate about dog breeds, but with research I was able to produce quality work. You will want to keep the business or client that you work for as a reference as you move forward, and in order for them to be willing, you need to produce content that follows their guidelines, is of great quality, and is memorable. 

Once you have all of this in mind, there are a few different places to start searching. As stated previously, freelancing jobs are everywhere. Everyone is in need of a good writer, you just need to find them. Indeed.com offers a variety of opportunities, and you’re able to add filters in order to find exactly what you’re looking for. Upwork is a great site that is used specifically for freelancing, and it is the website that I use. Sites like Upwork do unfortunately take a portion of your profit, but the rest of their service is free. You are able to search for specific jobs,salaries, topics, and experience levels which makes it very easy to find what works best for you. You are also paid directly through the site, and the website shows you if the client has actually paid freelancers in the past. On Upwork, and many other freelance sites, you are able to apply for any opportunity you’d like. This is where that resume, cover letter, and portfolio come in handy. Some will want to do an interview with you before you start writing, others will just send you the guidelines and a due date. 

Freelance writing can become a career. This takes a lot of time, practice, and clients, but it is possible. This job is very entrepreneurial. You have to be able to market yourself and your writing in order to receive jobs and contracts for your work. It is also important to constantly challenge yourself to grow as a writer, this will keep clients returning to you. Another important aspect of freelance writing, especially if you’re looking to turn it into a career, is customer service. Having memorable and professional interactions with your clients will leave a good impression--helping you gain future jobs both with them, and from recommendations from them. 

Freelancing, like any writing, takes a significant amount of work and practice. However, its benefits, especially for students, make the work worth it. As long as you are willing to persevere through the beginning stages and continue to put effort into your writing, you may find yourself being successful in freelance--whatever that looks like to you. Whether you are just looking for some extra money, or a full-time career, it all begins with taking the first step.

​
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