What Does ISBN Mean?

Readers are sometimes confused when trying to order a book from bookstores, Amazon.com or the library and are asked for the ISBN code. ISBN is an acronym for ‘International Standard Book Number’. It is a code used to identify and keep track of books. It is usually printed on the dust jacket or inside cover of a book.

History of ISBN

In the 1960s, W. H. Smith (one of the largest book retailers in the United Kingdom) wanted to make a uniform system for the books it carried. W. H. Smith devised the ‘Standard Book Numbering’ (SBN) system. Later, the ‘International Organization for Standardization’ (ISO) adapted and approved the British SBN system for international use.

Until the beginning of the 21st century, the ISBN was a 10-digit code. As of January 2007, it has become a 13-digit code. This is because there are so many books being published now that there is a shortage of 10-digit combinations.

Meaning of ISBN

To understand what the code actually means, use the ISBN code for a novel by Kunal Basu as an example. The Opium Clerk was published by Phoenix in 2002 and its ISBN code reads as follows: 978-0-7538-1339-3.

• ‘978’ is the prefix element. This code has its origin in the ‘European Article Number’ prefix. This code and others like it are used worldwide for marking retail goods.
• ‘0’ is the registration group element. It refers to the language, country or geographical area where the book is published. In our example, ‘0’ shows that the book was first published in Great Britain.
• ‘7538’ is the registration element. This refers to the publisher or imprint within the country or geographical area where the book is published. In our example, this part of the code refers to Phoenix.
• ‘1339’ is the publication element. This is a specific reference to this publication within that particular publishing house. The ‘1339’ part of the code, therefore, is a specific reference to The Opium Clerk within Phoenix.
• ‘3’ is the check digit. This is a number arrived at using a complicated formulainvolving the first 12 numbers in the code.

Vising a bookstore or the library in search of a book the next time should be a breeze – give the member of staff the book’s ISBN code and it will help them work more quickly and efficiently to locate a book. It will also avoid the problem of having the wrong book, which might have a similar title to the one requested, being delivered.

By Aneeta Sundararaj

This article was first published on Suite 101.com: http://suite101.com/article/what-does-isbn-mean-a256513

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Overcoming Shyness in Public Speaking

I am no expert at public speaking, but I have been called upon to deliver speeches to crowds numerous times (at graduations, for accepting awards, as a bridesmaid, etc.) even when I was so shy that talking to people at all, let alone en masse, occasionally brought on panic attacks. Through experience, and by incorporating what worked for me as a salesperson, I now actually enjoy public speaking.

This is what I learned:

1) Treating people as I would like to be treated, and taking the time to work out who my audience will likely be, what they are interested in, and what I would want or need in their place, tends to be helpful. In sales, my most successful tactic was listening to people before giving my pitch.

2) It’s valuable to write down what I want to say beforehand. Otherwise I ramble.

3) Practicing what I want to say with an inanimate object (e.g. a mirror, wall or—as a kid—my teddy) builds my confidence. Then I can talk to people without tripping over my tongue.

4) Taking my notes with me helps me stay on point, and when I need to take a deep breath I can sneak one in while glancing at my notes.

5) To prepare, I remind myself that I know what I want to say, that it’s important to me to share this, and that I can pull this off. I find one person in the room (my mother, a friend, someone familiar) that I can “hook” onto when I realize that I can’t do this, and then I tell that person what I want to say, and once I’m back in the groove I move my attention to another person.

6) I walk into a room or to the podium with good posture, and my version of grace and confidence. (I think Audrey Hepburn.) I always smile, even if I’m suddenly struck at how bad an idea this is.

7) I approach the crowd as a mass of individuals—I direct my speech to one person at a time, usually for about a sentence, and I look them directly in the eye. I can’t talk to People because I’m not in a conversation with People, I’m having a one-on-one conversation with several persons simultaneously.

8) Above all, if I’m sincere in what I want to say, and I make a point to connect with the persons that I’m sharing my thoughts with, I tend to be successful. And while I may kick myself later for the occasional rambling, I’m in the moment and I have fun despite being somewhat nervous inside.

Some tips from the experts:

“Good public speaking is seven parts attitude and three parts mechanics (organization, body language and rhetorical devices)… You can wow an audience with a forceful message and a good attitude…” Getting Over Yourself: A Guide to Painless Public Speaking by Barbara Rocha.

10 Tips from Toastmasters International.

©2012 Joanna Celeste (http://joannaceleste.com)

[Article originally published in the May issue of SPAWNews.]

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Making Workshops Work

Over a period of thirteen years, I’ve had 31 publications, yet I’ve also quit writing several times. A large part of this has come from involvement in writers workshops and groups. A good experience empowers me. A bad one convinces me to tear up all my ongoing projects and pursue another profession.

These things encountered at workshops and groups wasted my time or left me unfulfilled/ despondent:

• I had poorly-defined goals. I expected praise; I went for the credits; I knew I ought to attend but I wasn’t ready yet so I wasted resources.
• I was unprepared/distracted. I didn’t research people because I thought I’d wow them with my work alone; I clung to the few people/groups I knew and shunned others; I failed to bring my own supplies and scrambled to make do.
• I got spread too thin. I was so psyched to help everybody I never helped myself; I came across vampire-like people who sucked me dry and stole my day.
• I held a shoddy attitude. My confidence fell apart at the first massacre of my work; I rejected any/all negative opinions.

So how can I make a workshop work for me? Here are changes I’ve made:

• Have a plan—know exactly what I want to achieve and who I need to meet.
• Come prepared—research key players, work out my pitches, bring business cards, and have a portfolio created for specific people.
• Be distraction-free—I pack my briefcase/lunchbox using a checklist, set out my outfit, and have everything ready the night before so nothing breaks the rhythm of my studies or deters me from my purpose.
• Help others—it takes a village to raise a writer/artist, and if I can help other writers/artists, I usually learn something, too.
• Adopt a different point of view—as a writer, I have something akin to unrequited love, holding this big awesome world in my head and hoping against hope that I can put it forth and it will be accepted. When it is rejected, I feel rejected, but I discovered there are three points of view at work in this relationship: mine as a writer, others as readers, and the agent/publisher/editor POV. I need to be fluid in which point of view I adopt; it is not personal.

For readers, a book is an invisible friend or a magic carpet that transports them to a new world; it welcomes them into its fold. When I receive feedback from readers, I want to know if I have inadvertently betrayed them. I either fix it or find a different market.

For the agent/publisher/editor, a book is an investment. They put themselves on the line, and they need assurance that it’ll be worth their time, resources, blood, sweat, and tears. It isn’t enough to be a fantastic read; it needs to sell. This feedback offers a new means of presenting/selling my work.

Using these guidelines, I can make the most of these workshops and succeed.

©2012 Joanna Celeste (http://joannaceleste.com)

[Article originally published in the November 2012 issue of SPAWNews.]

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Writing can be managed like everything else

I have discovered the ability to make myself sit down and write something fictional on command. I’ve been haunted by “writer’s block” but this last Sunday, I had to conquer it.

As I posted earlier, I have been working on my story collection to get it ready for the second round of feedback, before I start sending it out to agents, publishers, etc. I have added pressure to get it done because I am all set to attend the upcoming Ventura Writer’s Weekend and I need it done in time.

So I was working on my five stories, and one worked out. The other four, through a series of unfortunate events, did not.

Thus I had two choices: Stick the collection back in a drawer for however many years, or write two new stories. I had people waiting on this, so I needed to make my choice, and stick to it, and choose quickly.

I’ve been trying to finish this collection for thirteen years. It was not going back in a drawer.

So I had one day to write two stories–and I had writer’s block.

I attempted to write a decent story five times, and they were all bad. One became a near rip-off of a series I’ve been reading, so I scrapped it. Another was so overdone in the past I couldn’t stand it. The third was just bad, period–two paragraphs in I was like “ah NO.” The fourth started fine and kaputed after half a page. So I invented a title, hoping I could write that way, and wrote a few lines and quit. The lines were “I couldn’t help it if cats liked me. If they always knew how to track me down. And what was I supposed to do, turn them away? No. So I became what I had always hated, and sworn on my mother’s grave would never be– A Cat Lady.” And then I went “Arrrggghh!” and deleted everything.

Now I had less than half a day to write two stories, and I was convinced that I was the worst writer in history. (I get melodramatic when I hit writer’s block).

So I tried another tact: logic.

Logically, this writer’s block made no sense. I had turned around articles in two hours when I was pressed with a deadline. Of the nineteen articles I’ve published (soon to be twenty) I had never once missed a deadline due to writer’s block. It was like there was no room for it when I had all of three days or two hours to get something delivered. So how was it possible that I could be reliable in nonfiction, and doomed in fiction?

I decided to treat this like nonfiction. The actual subject matter shouldn’t affect the outcome, but I assumed I was psychologically conditioned to believe that I could fail to write fiction but not fail to write nonfiction, so I would approach it as a nonfiction project.

I sat in front of the computer, and stared at the blank screen. With nonfiction, I always had a premise to work off of. OK, so in this project, I needed to write a love-themed piece.

I turned to my previous nonfiction works that I had yet to publish, and I fictionalized one of them. That was easy–I wrote a nonfiction story and changed the names and added a few pieces of color.

And oh my gosh I had written a really nice fiction in under an hour. I even read it twice and couldn’t fault it. I set that aside.

Now… one more…

Unfortunately there were no more nonfictions I could fictionalize in a love-themed story that had a happily-ever-after.

With almost all of my nonfiction pieces I had gotten published, I had pitched the idea first, then written the article once it was approved. So I usually had a vague prompt to springboard from.

I needed a vague prompt about love, one that didn’t make me groan. My second fall-back, when lacking prompts, is to park myself in front of paintings and find the story within them, and tell that tale. So I plunked in front of the most magical painting in my room and forced myself to find the story.

I had two false starts, but I basically told myself “You’ve got to turn in this love story by tonight, and you’ve already promised it so you’re just going to have to do it.” And then the story presented a little tiny toe of itself and I had to tease it into being, but I found it, and I wrote it, and the ending was good.

I’ve got to polish both stories, and I may switch the POV on the first story, but I had done it! In the space of a few hours, I had written two stories, on topic.

At that point I felt like a real writer for the first time. I could actually manage myself in fiction the same way I have to manage myself in everything else. And apparently I can make myself write in genres that are beyond my comfort zone, on a deadline. Now if I can just get organized, and scheduled, and work out how to get those novel ideas properly researched, I’ll be golden!

©2012 Joanna Celeste (http://joannaceleste.com)

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5 Writing Myths Busted

One common element whenever human beings gather is the need to talk and share experiences. Often that need turns into something a little more fun, a little more dangerous — gossip. Gossip is often fun but it can also be dangerous because it spreads quickly (because it is fun) and often distorts or even completely avoids the truth. Gossip creates myths in many fields and professions, and the field of writing is especially prone.

The top five myths about writing are:

Myth 1: Writing is easy for some people.

Let me tell you that is just about the biggest myth going. I have been a professional writer for going on three decades now. I also know many other professional writers of various ages, experience, and income. I don’t know a writer that will tell you that writing is easy. Writing is brutal, hard work and there are times when I think it would be easier to simply open a vein as Red Smith said. However experience and practice can make many writing tasks easier. There are some writing tasks that I can almost accomplish on autopilot because I have written that specific format and/or topic a lot.

Myth 2: Writing requires talent.

I won’t lie. Talent can certainly help and talent is what separates the great writers from the good writers. But the truth is that talent is not enough to make a writer great or even good and talent is not a necessary requirement to be a good writer. Writing is a skill that can be learned, developed and honed. If you practice your craft, if you read the writing of others to learn more about your craft, and if you seek and accept guidance and suggestions about your writing then you will improve and grow as a writer. Dedication harnessed with talent can create amazing results but if I had to pick just one then I would go with dedication. You can always increase your skill level through dedication.

Myth 3: Writing isn’t an useful skill.

I have made my living as a writer for my entire professional life but even if you don’t intend to make your living with words you will need this crucial skill. There simply isn’t a profession that does not involve writing. Perhaps the form will vary, but written communication is the cornerstone in every professional field. Your writing ability will often impact landing a job as well as advancing in your career. Today written communication is even more crucial in professional and personal relationships.

Myth 4: You can’t make a living as a writer.

I can remember when I told my father that I wanted to be an English major in college. He was very worried that I wouldn’t be able to support myself. The truth is that I have never had trouble finding a job and today I own my own business because of this flexible and important skill. Not only can you make a living as a writer but writing is an essential tool for many other careers and professions.

Myth 5: Writers block is alive and torturing writers as you read this.

I’m not dismissing the difficulties inherent in dealing with writers block but whenever I talk with writers purportedly suffering from it they fall within two general groups. The first group actually creates their own block by insisting on the perfect place, mood, or alignment of planets in order to write. This is beyond ridiculous. One of the many benefits I gained from years of newsroom experience is the ability to write in almost any condition or mood. Deadlines will teach anyone how to give writers block short shrift. The second group I have more sympathy for as their problem really is internal in nature. Usually the problem is that the particular story (whether fiction or nonfiction) they want to tell is not yet finished cooking in their brain. In this case, while the writing may be stalled I don’t agree that it is blocked. The writer must listen to that inner voice and respond appropriately. Sometimes the idea needs more time to percolate and sometimes more research and/or planning is necessary. Once the proper adjustments are made the writing will begin to flow again.

Don’t let your writing fall victim to these five myths about writing.

Deanna Mascle has been writing professionally and teaching writing for more than two decades. She publishes a newsletter for writers whether they write for fun or profit. Learn more at Word Craft Online at WordCraftOnline.com

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6 Steps To Becoming Your Own Best Editor

One of the first important lessons a writer learns is that writing is a process, a series of steps that take an idea from concept to completed work. This is true whether the work is an article, a poem, a report, a short story or a book. Understanding this process — and the role a writer plays in it — is crucial to their success.

One of the most important steps in this process is learning to look at one’s own work objectively. To focus on the intended message and ensure that it is delivered properly. While that may seem obvious enough, as the work progresses, it can become blurred. As the old song goes, “I have so much to say; but the words get in my way.” To clarify that ‘blurring’ effect, it is essential to be able to edit your own work. But how does a writer edit their own work? While the process may vary depending on the writer, there are six steps that are integral to editing.

1) COMPLETE THE DRAFT
Novice writers should not attempt to edit as they write. Even experienced writers, who learn to smoothe over the copy as they go, know this is not editing and must wait for that separate step later on. The most important point of a first draft is to simply get the idea on paper, in whatever fashion that’s comfortable for the writer. An outline is helpful and can serve as a rough draft for smaller projects. But if that format seems too limiting, just write out the first draft, understanding it is only the first go-around.

2) WALK AWAY
Even if it’s only for a long enough period of time to get a glass of water. With longer projects, try to lengthen the time to a few days or weeks. This step allows the writer to gain perspective by “stepping back”. Mostly, it allows the writer time for the subject to settle in their mind, plus it gives them time to mentally shift gears from writer to editor.

3) ASSESS OBJECTIVELY
While reading over the copy, the writer must learn to view it as a reader. One should be neither overly critical, nor overly attached to certain pet phrases or side remarks, but simply read it as if reading it for the first time. When done earnestly, this will make any errors, flaws or awkward points more apparent.

4) BE BRUTAL
This is the most difficult step, especially for the young or insecure writer. Heck, it’s tough for the pros. Think of the classic image of an editor– from the old Superman comics, for instance, wielding his red-ink pen with flourish, only interested in the facts. Especially when writing articles or in business, this is your best ally. With this image in mind, really look at what is necessary to make a logical progression. One trick is to put yourself under an artificial word restriction. Nothing helps cut unneccesary copy better than a specific word limit.

5) CRISP, CONCISE, CLEAR
These are the “3-C’s” of good writing. While each writer has his/her own way of expressing themselves (and, in the case of fiction, more latitude is acceptable), these three points are integral parts of any successful writing.

— CRISP – A fresh or meaningful viewpoint. Take a stand. The purpose of writing is to say something– so say it!
— CONCISE – Do not wander from the point. At least, not without a reason that directly relates to the original idea.
— CLEAR – Make a steady progression from beginning to end. Don’t leave major gaps in the progression.

Whether a report, a novel, an essay or an article — even in poetry or song — this rule applies. While editing, a writer must ask themself if the work succeeds in these three areas. If it doesn’t, WHY? Analyze when and where it strays, even if that means working backward to the beginning.

6) PERSONAL WEAKNESS
Just as an athlete must learn to be aware of any physical weakness and compensate for it, so a writer must familiarze themself with their own bad habits or tendencies. A classic example is when a young writer masks their insecurity with a flourish of fancy words. But each writer has their own faults and must learn to guard against them. For example, when I was young, I had a nasty habit of using at least three adjectives whenever I described something. Eventually I saw this as the annoying flaw it was, and learned to choose the very best adjective and commit to it. Seeing this habit as a flaw was difficult. But it made me a stronger writer.

And that is the entire purpose of learning to edit one’s own work: to grow and strengthen as a writer.

Marige O'Brien (Tracker Mo) actively works as a writer, web designer and internet marketer. Visit her website, Tracker Mo's Den (http://www.trackermo.com), for her latest recommended business opportunities, etools and articles.

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6 Reasons Why Case Studies Are A Terrific Market For Freelance Writers

I remember the first time a client offered me a case study writing assignment.

I was petrified.

It was early in my freelance writing career and I didn’t even know what one looked like. I had a lot of questions. “What the heck is a case study?” “How long is it?” “What is the format?” “How much do I charge?”

I didn’t have a clue.

Of course, these days, I know more. A lot more. In fact, I write dozens of case studies for clients each year.

Case studies now rank high on my list of the most fascinating — and lucrative — projects I handle. (I’m sure glad that client offered me the job all those years ago!)

If you’re unfamiliar with case studies, don’t worry. They’re really quite simple. A case study is just a fancy name for a success story – the tale of a happy customer and his or her experience using a product or service.

Lately, I’ve noticed that more and more companies need case studies written, yet have difficulties finding writers who can do the job.

That spells OPPORTUNITY for you and me.

And it gets better. Consider the following:

1. Case studies are not difficult to write.

They are similar in style and format to a newsletter article. So if you can write one of those, you can write a case study.

2. Case studies are relatively short

Usually about 400-800 words in length. Once you’ve gained a little experience, you’ll be able to knock one off in less than a day.

3. The formats are standardized

Unlike ads and direct mail, you won’t get stressed out by having to come up with a dazzling new concept or killer headline. The basic structure of a case study is remarkably simple. All that’s required of you is to get the facts and write a good piece.

4. Case study writers are in demand

More companies are scrambling to get case studies written today than ever before. I can’t give you an exact figure but, in my opinion, the demand for case study writers has increased significantly over the past couple of years.

5. There is little competition

I’m not sure why, but few copywriters go after this market. Some may not know it exists. Others may mistakenly think that case studies are dull or technical. Not true! Case study writing is storytelling. It’s fun.

6. Case studies pay well

Surprisingly well. Now you won’t get the superstar rates paid to big-league direct mail copywriters. But most clients do pay handsomely for case study writing. Earning $100 per hour is not an unreasonable expectation for an experienced writer. I know many who earn a lot more.

Right now the case study market is booming. Why not jump in and get your share of these fascinating and lucrative writing gigs?

Steve Slaunwhite helps copywriters and business writers attract more clients. Get your free marketing workbook today at: www.forcopywritersonly.com

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10 Secrets For Everyday Writing Success

During my 30-year career in a variety of professional positions in both the private and public sectors I have written literally thousands of letters and memos and hundreds of reports. If I had to boil–down everything I’ve learned about practical day-to-day writing for both personal and business purposes into 10 key points, this would be my “Top 10 List”.

1. Preparation Is the Key
Do all of your research first, before you start to write. Even a letter normally requires some minor research such as making some phone calls or reviewing a file. It’s also very important to prepare yourself mentally before writing. So, don’t sit down to write too soon. Mull it over for a while, sometimes a day or two, sometimes an hour or two, depending on the complexity of the job at hand. It’s amazing how the sub-conscious mind will work on the problem “behind the scenes” and when you finally do start writing, it will flow.

2. Always Use a Sample
For me, this is critical. No matter what I write, it helps tremendously if I have some visual stimulation. If I’m writing a letter I post a copy of a similar letter, or the one I’m responding to, somewhere in my direct line-of-sight. It helps me focus and keeps my mind on the subject at hand, minimizing the tendency for my mind to wander. No matter what it is, I always make a point to find some previous work or a sample of work similar to what I’m doing. It really stimulates the creative writing process and increases productivity significantly.

3. Shorter Is Always Better
Whether you’re writing a report or a letter, look for ways to cut it down in length. Concentrate on conveying the essential message. If something you’ve written does not enhance the core message, or doesn’t add value, consider cutting it. These days, you have to be “short and to the point” to get your message read.

4. Use Concise and Appropriate Language
Your letter or report should use simple straightforward language, for clarity and precision. Use short sentences and don’t let paragraphs exceed three or four sentences. As much as possible, use language and terminology familiar to the intended recipient. Do not use technical terms and acronyms without explaining them, unless you are certain that the addressee is familiar with them.

5. “Be” Your Addressee
A key technique to use when writing anything is to clearly “visualize” your audience. As you write, try to imagine in your mind’s eye the specific person(s) to whom your written product is directed. I often imagine that I am sitting across the boardroom table from my addressee, trying to explain my points in person. Make an effort to see the situation from the other person’s perspective. What would you be looking to see if you were the recipient of the letter or report?

6. Do the Outline First
Even if it’s a one-page letter, it doesn’t hurt to jot down a few quick notes on the main points that you want to cover. This process forces you to think logically about exactly what you want to cover and it helps you decide in which order you will approach your subject. For a letter this is helpful. For a report, this is absolutely essential. In fact, I believe that you should force yourself to go through the entire thinking process that is required to develop a complete draft Table of Contents, before you start to write any report.

7. Write and Then Rewrite
No matter how much preparation I do, I always find that I can improve on the first draft. That’s partly because when I’m writing that first version, my main focus is to get the essence of my thoughts down on paper. At that stage I don’t worry about perfect phrasing, grammar or logic. My main mission the first time through is to make sure that I capture the critical words and phrases that form the core meaning of what I want to communicate. Then I can do the fine-tuning in the last pass.

8. Format Is Important
Whatever you are writing, make sure it looks professional. This is where proper formatting comes in. Your credibility, and/or that of your organization, is on the line; with your report or letter serving as your representative. If it is not professionally formatted, it will reflect negatively on you, even if the content is good and it is well-written. Rightly or wrongly, the value of your work will diminish in people’s eyes if the formatting of your document is shoddy or amateurish looking. On the other hand, weak research and/or writing will appear better than it really is if the formatting is good.

9. Read It Out Loud
Some people who haven’t tried it may laugh when they read this, but it really works. At any point during the drafting process, but definitely at the draft final stage, read your report or letter to yourself “out loud”. It’s amazing what one picks up when they actually “hear” their words as if they were being spoken to them as the addressee. I find this helps me the most in picking up awkward phrasing and unnecessary repetition of words or terms.

10. Check Spelling and Grammar
Last, but far from least, make sure you double check the spelling and grammar in your document. These days, with spell-checkers built into word processing programs there’s really no excuse not to do this. Once again your document is a direct reflection of you and/or your organization. If it is riddled with spelling mistakes and obvious grammatical errors, it will appear unprofessional and your credibility will suffer. Watch out for the words that sound the same but have completely different meanings that a spell-checker won’t pick up. Words such as “four” and “fore”, for example. Your final read-through out loud should catch any of these.

Whether you’re writing a letter, a memorandum, a report or an essay, follow the above tips and you won’t go wrong.

Shaun Fawcett is Webmaster of two of the most visited writing-help Web sites on the Net. He is the author of numerous “how-to” books on everyday practical writing help. He also writes about how to create and publish books and ebooks. His main “writing tools” site is: WritingHelpTools.com

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7 Deadly Mistakes That Cost You Money and Assignments

Sometimes, you just don’t get second chances. Freelance writing works a little that way. If you’ve offended an editor, it’s quite unlikely that she’s going to work with you again. If you don’t muster up the courage and ask for a higher payment rate, you won’t get that chance till the next acceptance. And if you sell all rights for less, you write away all future income from the sale of that piece.

These seemingly small mistakes can cost you big money when done repeatedly. Avoid these common pitfalls and you’ll not only earn more from each sale, but ensure that you’re developing working relationships with editors who’ll look to you for regular work.

Mistake No. 1: Missing Deadlines
I’ve often wondered why writers constantly miss deadlines. After all, if you’ve landed an assignment—big or small—wouldn’t you want to get it in before time instead of after, so that you could impress the editor and secure more work? But many writers often fall short, and editors almost never work with these writers again. So drop those waiting-till-the-last-minute habits and get into researching mode as soon as you get the assignment.

Mistake No. 2: Lack of Preliminary Research
When the editor of a technology magazine wrote in to ask exactly which Internet scams I’d be covering in my “Top Scams on the Internet” article, I wrote back to her within minutes. That’s because I’d done my initial research even before I’d sent the query. You don’t want to be on the phone with an editor with no clue about the details of your piece. Be the writer who responds quickly and intelligently with the latest research, having the facts ready, exactly when they’re needed.

Mistake No. 3: Not Negotiating
Many freelance writers become so excited on receiving their first national or high-paying assignment that the thought of asking for a little more doesn’t even strike them. Many of them move on to find out that other writers were paid better for less work by the same publication. Always try to negotiate for a better contract—less rights, more pay, payment on acceptance, kill fees and even a short bio if you can get one. Most editors expect writers to ask for more, so don’t worry about seeming greedy or money-minded.

Mistake No. 4: Not Moving On
Initially, you’ll need those low-paying, short deadline, payment on publication assignments. But take on too many of them and you’ll soon be working 90-hour weeks and still have no food on the table. Once you’ve gathered a couple of clips and some regular high-paying assignments, thank the editors at the small publications and move on. Go beyond your comfort zone and start targeting higher paying markets. You can’t live on 20-cents-a-word publications forever.

Mistake No. 5: Getting Too Personal
It’s great to get personal with an editor. In fact, I highly recommend it. But don’t take it too far. Your editor is not going to appreciate forwarded jokes, tales of your latest adventures in the Himalayas or the sob story of your dog’s death. However friendly your editor might be getting, do remember that it is after all, a professional relationship. If you wouldn’t say it to your boss, don’t say it to your editor.

Mistake No. 6: Letting off the Steam
Your editor’s changed the meaning of your review so that it now sounds positive when you clearly intended it to be negative, modified your quotes or hasn’t sent payment even after months of bugging her. You’d want to tell her exactly what you think of her, right? Bad idea. While I wouldn’t suggest being a doormat and accepting what happened, I wouldn’t recommend a fist-session with her either. Go tell her you didn’t like what she did, but say so politely. If you’re still upset, you can always stop writing for the magazine, or let her know that your viewpoints don’t match.

Mistake No. 7: Not Proposing Another Idea
Once you’ve written for an editor, your chances of writing for his publication again increase by a huge factor. He’s more likely to trust you with more assignments if you come through on the first one. That’s why, after the final acceptance, send off a thank you note and another query. Don’t give the editor time to cool off and forget you. Strike when he knows exactly who you are, how brilliantly you’ve done your job and how you’ll definitely make his life easier.

So next time you’re tempted to accept an editor’s initial offer or scream at him for not sending full payment, remember that you only have that one chance. To keep your clients happy and earn a living in the process, avoid making these errors of judgment. You’ll soon be on your way to a very lucrative career.

Mridu Khullar is a full-time freelance writer from New Delhi, India and has written for almost 70 publications, recently including Chicken Soup for the Soul, Writer's Digest, Women's Health & Fitness, Girls' Life, Wedding Dresses and ePregnancy. Visit her at http://www.MriduKhullar.com

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