The Writing Coach Podcast with Rebecca L. Weber

What's one thing you'd like help with in your writing life today? I'd like to coach you about it—and share the recording with other listeners of the Writing Coach Podcast. To apply for a free coaching session with me, visit www.rebeccalweber.com/coachme

Sometimes you AND your pitch need to get out of your head and out into the world.  On the first Tuesday of the month, I'm hosting co-pitching calls where freelancers work on their pitches together.  This month I offered a few short prompts for those who needed it. Here I elaborate on ways to approach these prompts, your story idea, your editor, your readers, and your mindset.

On Monday mornings I used to be cranky and anxious. It's not a great combo any time, and not a great foundation for the week ahead.  Then I created a ritual to help me transition … and I actually look forward to that time when I get to look at my writing projects from a totally different perspective.  Creating a ritual or two in your writing life can provide structure, meaning, and momentum. This episode is in memory of the patron puppy saint of the Writing Coach Podcast, Mishka.

In one week, you might have a pub that you've written for for years fold, receive an email from an editor who said she loved your pitch now asking for a ton of edits, sign a contract for a new book, and have a source ask to reschedule an interview. It seems there's nothing as constant in change in the freelance writing world … and yet so many freelancers seem continually surprised by the meta pattern of change. In this episode we look at handling change as a freelance writer in general, and then focus in on the pattern of feast and famine. 

They say it's the thought that counts when it comes to gifts. But if you've ever had the experience of receiving a gift that was clearly intended for somebody else (but the tags got swapped or similar), or if you received a generic Secret Santa present, you know that the thoughts leading to those gifts were fundamentally different than when somebody offers you a gift that surprises and delights you because it is just so perfect. Freelancers who pitch regularly have had the experience of sending the wrong idea to the wrong publication at the wrong time. If who you are pitching is an afterthought, that randomness shows.  Sending your next editor a pitch that makes their day is an empowering experience for both of you. Learn more about the gift of specificity.

On a road trip, you might see a dozen reminders about an upcoming exit. The frequency doesn't mean that you should get off the highway for an unwanted detour. Following the trail of habitual thoughts can derail your writing life. Learn to stay the course. Also: The last session for the year of my small group coaching program, Freelance Writer Bootcamp, starts in mid September. Details and application info: www.FreelanceWriterBootcamp.com

Some writers always honor their deadlines for clients, yet aren't accountable to themselves when it comes to marketing or creative work. Maybe you want to pitch more stories, finish your book proposal, or write in your journal every single day. You get started, then quit, and never build enough momentum to create the writing life you really want for yourself. In reality, signing a contract isn't what actually makes you complete an assignment on time. It's your decision to complete it (which you may do because you like the consequences of doing so, such as feeling reliable or spending the income). If you already know how to be accountable to somebody else, you can use that experience to practice being more accountable to yourself too. And you can do it without any negative self-talk, shame, or blame—instead, honoring your deepest writing desires is a form of self-care and we can do it more effectively from a place of curiosity and learning.

Perception of time varies from person to person, and from task to task. Before, during, or after a particular writing task your estimate of how long it takes will likely vary. This lack of clarity about time in the moment can be seen or described in very different ways depending on the context (eg “flow” vs “time blindness”).  If you don't know how long something will take you, how can you quote profitably? If you don't know how much time has gone by, how do you know what to do next to stay on schedule? Here's what I've found helpful in terms of this aspect of time management.

Freelance writers often have a hard time setting rates, or feeling great about them after we've signed a contract. It can feel challenging when: You have a sense that there's a correct rate to charge, but you don't know what it is You don't know how much you need to earn this year, so can't break down this project accordingly You believe that the client sets the rates Spoiler alert: It is *always* possible for a potential client, a freelance colleague, or a well-meaning friend/family member in another field, to think or say: “You are charging too much” OR “You aren't charging enough.” Ideally YOU won't be the one telling yourself either of these things. This episode we uncover some of the common reasons freelancers struggle with setting their rates, including the most common issue that affects high- and low-earners alike, and how to take control.

Do you (almost) always honor your agreements to others (e.g. you routinely make your deadlines), but have a hard time doing things that nobody else is completing (e.g. pitch a story to a new-to-you editor)? External accountability can help interrupt narratives that are neither fact-based nor helpful.  Today I share with you a number of external accountability practices that are helpful for writers as well as questions to help you better tune into what works for you. Learn how to bridge the external accountability you've already got to your internal accountability, so that you can show up more for yourself, your career, and your readers.

No electricity. No internet. They're not one in the same, but when they overlap they make for a powerful Venn diagram. The extreme weather and increased pressures on infrastructure means we're going to continue to see large areas lose power and connectivity. Here in South Africa, we've had plenty of chances to learn how to freelance efficiently both with some tech strategies and managing our own expectations during power outages. Let's get into both so that you can keep getting your work done.

As a species, we're pretty judgey. As working writers, we're constantly having our work judged.  Sometimes it can feel like how someone feels about our writing is how they feel about us. When we add our own judgement of somebody else's judgement, things get sticky. Fear of judgement (by an editor, a friend, an anonymous reader who leaves a comment, or even ourselves) can be a major blocker.   This episode is a bit shorter than normal to give you some time to write into a prompt in your freelance journal.

Freelancing while traveling disrupts the home routine. Get clear about your process and expectations when traveling, and you'll be better able to reduce frustration and optimize your next trip. Some unconscious and/or unrealistic expectations include: + Stamina, sleep, and food choices + Only reporting vs. starting to do some writing before reporting is complete + An overscheduled itinerary vs. intentional white space on calendar

One great guiding question is at the heart of a pitch that lands an assignment, or in an article that resonates with readers. Answering this question is usually going to be more compelling for a reader, and often essential for an assigning editor. This episode unpacks the power of answers, plus the exception you want to watch out for (ie, when you want to make sure that the question is explicit). Not sure how to generate guiding questions? Listen for the exercise I recommend to get your understanding up to speed quickly.

As a writing coach, I've heard countless writers complain about their numbers. Or, more accurately, I've lost count. Often somebody will hook into a goal number (daily word count, annual income, how many likes on a post) that disappoints–whether they hit that number or not. And many others don't identify a goal number from the outset, but then lament that whatever number they're looking at is “not enough” (or possibly “too much”). Using numbers against ourselves in this way is largely counterproductive, both for achieving goals and for enjoying our writing lives. I recently noticed that more than listeners have downloaded a quarter million episodes of the Writing Coach Podcast.  250k is a data point that doesn't actually mean much in practical terms. It's a fairly arbitrary number … as are so many of our writing metrics. Even hitting the number of words you wanted for a writing session doesn't necessarily mean that those words are brilliant, concise, or bloated.  Choosing to celebrate with little #podcakes is a lot more fun than not having cake. Having fun is valuable in its own right. And when we are in a playful state of mind, we're far more able to step out of restrictive thought habits that shut down our creativity, energy, and motivation. Some of the very same games that you've naturally developed through playfulness with words can be applied to numbers. On this week's episode, explore a few ways you can bring a little more fun to your own numbers. 

Steph Fuccio invited me to her podcast, Content to Connect, to discuss the value and impact of podcasting and newsletters. This BTS conversation is relevant to anyone involved with a podcast, newsletter, or other (semi) regular form of opt-in communication. I share my own transition from a newsletter to podcast and how these both help my ideal clients decide they want me to be their writing coach.

In some important ways, it doesn't matter what your job is when somebody you care about dies.  In today's episode, we look at ways you can use writing to process your emotions and communicate love and loss, or to support somebody else who is in mourning.  We also discuss the practical challenges of freelancing while grieving. In the four years since this episode was first published, it's quite likely you have experienced grief over the loss of a loved one (and/or have wanted to support someone who has gone through this). Grief runs on its own timeline; in this new intro I also address allowing time to grieve through the years.

Some thoughts on writing and pitching together, trying new things, and how timing your work sessions gives you useful data.

One great idea element can be developed into so many different kinds of stories for noncompeting audiences. Listen to my interview on the Do Good Work Podcast, where Raul and I talk about pitching, freelancing, flexibility, generating original ideas, exploring creativity, inspiration, and more in a slightly different context than we've ever done before. -Importance of recognizing personal biases and understanding audience needs -How curiosity and unique ideas help writers stay ahead of the AI curve -Challenges staffers may find when pivoting to freelancing

Black lives matter, today and every day. This is not always reflected in the media. Today we look at how an anti-racist approach to reporting helps us get closer to the real truth of what is happening in the stories you cover. An anti-racist approach works both in stories that explicitly cover racism, as well as so-called softer stories where you may not have initially identified a racial angle. This process will require you to confront biases in society as well as within yourself. In No Name in the Street, James Baldwin wrote, “Well, if one really wishes to know how justice is administered in a country, one does not question the policemen, the lawyers, the judges, or the protected members of the middle class. One goes to the unprotected—those, precisely, who need the law's protection most!—and listens to their testimony.” Listening is the foundation of good reporting, and anti-racist journalism that challenges the status quo. Get quiet enough in your own head to listen to your own responses to what's happening. Ask yourself how you've chosen the people you're interviewing (see Baldwin above if you don't like your answers). Listen closely to what the people you're talking to have to say.

What is your freelance writer business model? What are the skills you need to get you to the next point? Do you prefer to improve your weaknesses or your strengths? What skills are you actively developing right now? I've chosen not to pay too much attention to some skills (like spelling) that seem like a no-brainer to some writers (but that actually have had very little impact on my career). I have focused a lot on some skills (like pitching) that other writers don't want to invest in–and then can't grow the career they actually want.

It's common for the lede to get buried in the draft (and sometimes final) article.  In pitches, it can happen twofold: first there's a tendency to take up a half a screen of nonessential small talk (“Hope you're well”), and then even in what is supposedly the main pitch, there's often excessive background and context. All of this may make you, the freelance writer, feel more comfortable. But it also means that the real focus of your story remains buried, and effectively unavailable to your editor and their readers. Let's exhume your story.

Every three months marks a turn of seasons, and a refresh of the financial quarter. It's the perfect time for an evaluation.  Pausing to review and reflect on what's actually happened allows you to plan from a more grounded place.

Freelancers often think of the editors who don't want to assign them stories, and of readers who don't want to read their stories and angles, when writing pitches. I don't mean the editors don't want to assign the stories because the pitches need to be zhushed up.  I mean the editors don't want to work with the writer because it's a bad match. If the freelancer had done a frank assessment, they'd realize that they don't to write the kind of stories that pub does, or for the rates and terms they offer. This client actually possesses the characteristics of the writer's worst, rather than best, client. And yet that's who they're pitching, without realizing it. Let's discuss why and how to avoid this trap by learning to recognize your truly best clients.

We all know we're supposed to read a publication and tailor a pitch to their needs … but so many freelancers just cut and paste the same one-size-fits-none pitch and send it out to editor after editor.  In general, the spray-and-pray approach maintains a low pitch acceptance rate. But this approach actually does work in a few select cases. Listen to hear what the three situations are when it might make sense to try this, and when to customize, plus a key question that will help you clarify if the very minor tweaks you're making still count as the same pitch or not.

If you' know improving your pitch acceptance rate would uplevel your writing life, or you keep saying you want to work with me in Freelance Writer Bootcamp, but find the idea of filling in the application a stumbling block, this episode is for you. Freelance Writer Bootcamp alumni frequently cite confidence as their most useful outcome–alongside new clips from the Guardian, the New York Times, Bustle, Travel + Leisure, the LA Times, Afar, the BBC, Earth Island Journal, Al Jazeera, and so many more dream publications. The March session is about to begin. Get started at www.FreelanceWriterBootcamp.com

I used to work at a homemade ice cream parlor. When someone came in and was unsure of what to order, I'd offer them a taste.  If they wanted multiple tastes, that was fine, but they didn't get mint chip and coffee oreo and strawberry all crammed onto one tiny taster spoon. When an assigning editor looks at pitches, they are in tasting mode, and ready to order. 

Ever wonder what “vulnerability” feels like? Try telling people you're about to shop your book proposal when you're worried maybe no one will ever buy said proposal.  The proposal (or pitch, or post, or whatever it is) doesn't actually make us vulnerable; neither does telling people about it. It's the way we think about these things—and in this case specifically what you think other people might think.  Instead of avoiding the things that we really want to write/publish/promote, let's plan for how we'll talk to ourselves and create safety when we do take risks.

Some freelancers say they're writing for low paying, low circulating, low quality, or otherwise low satisfaction publications because they need to pay their dues. If working this way was a sure route to high paying, high circulating, high quality, highly meaningful work, I'd be all for it. But it's not. Those publications aren't suddenly going to become lucrative and prestigious. And editors at their dream pubs aren't going to make assignments because they've taken low paying gigs somewhere else. The freelancer thinks: “I've got to do these stories somewhere that doesn't pay much because I won't get the assignment otherwise.” Unfortunately, this kind of thinking leads to more of the same after the articles are published. Instead of being proud of the new clips, the freelancer thinks: “I only got the assignment because I did it for free.” We all have limited time and energy. Don't spend yours on pitching places you don't really want to write for because of some imaginary dues that nobody is collecting. Look out for where you're holding yourself back instead of growing forward. Don't argue for why you should play small or for why you can't do the things you really want to do. In this episode we look at the reality that you do know your potential. Recognize it, remind yourself of it, argue for it. Develop and pitch stories that matter to you and to the publications you want to write for.

Whether you're writing a short pitch or a lengthy feature, the urge to include more, more, more can be seductive. Succumb to this pull, and you'll see productivity, speed, and quite possibly you and your editor suffer. Deciding when enough is enough and knowing how to kill your darlings can help you enjoy each component of the writing process, while also making your entire orientation more streamlined. In this episode, I unpack:  The importance and benefits of including less How to identify when you're trying to include too much  Why you tend to include more than is necessary  People-pleasing as a contributing factor  Key questions to help yourself learn to know when you're done and act accordingly Was this a great episode? Please pay it forward by leaving a review and rating on Apple Podcasts or Spotify  Let other writers know why you listen. Do you have a favorite episode? A key takeaway?  Share the Writing Coach Podcast  Share with other writers via your social media accounts or email newsletter, or tag a friend in a comment on my Instagram @FreelanceWriterBootcamp Work with me in Freelance Writer Bootcamp  Break into your dream publications and get paid well while covering stories that matter. Alumni of my group coaching program have used the proven Bootcamp processes to break into the New York Times, the Guardian, Bustle, Fodor's, Ms., Nat Geo Travel, Al Jazeera, the BBC, and many more.  Apply now: www.FreelanceWriterBootcamp.com Work with me 1:1 Are you a writer who wants a personalized agenda and transformative breakthroughs? If yes then private coaching is for you! You'll experience new clarity about what's been holding you back and choose new patterns of thinking and behavior to propel you forward toward your writing goals.  Apply for private writer coaching: https://rebeccalweber.com/coach/

The past few weeks, I've been adjusting to a new morning routine. Moving outside in the sunshine helps the body recalibrate to wake up earlier. But somehow the effort of actually putting on my socks and sneakers soon after waking up has seemed like waaaaay too much effort. At a conscious level I told myself: "It's no big deal. You'll be ready in a minute." And then I tried to Nike or Yoda my way: "Saying you'll try isn't good enough. Just do it. Go on, do it."  But I still wasn't putting the socks on and didn't want to try to muster up the willpower either. Instead I took the easy peasy route: I put on flip-flops (it's warm here in Cape Town), walked to get my cup of coffee, sipped it on the way home, and began to write. As writers we are so used to working hard, and to things being hard, that it can be hard to let it be easy. If you've experienced something as difficult in the past (like pitching ideas), or know that a task is challenging for others (like writing quickly), you may subconsciously make it harder for yourself. Why? Because you believe the dominant narrative that it is hard. Thankfully, there's a way to let go of the habit of making things harder than they are by working with your brain instead of against it. This bonus episode is a followup to this week's main episode 218, When it's hard to let it be easy

If you've experienced something as difficult in the past, or know that a task is challenging for others, you may subconsciously make it harder for yourself because you believe the dominant narrative that it is hard. On the Writing Coach Podcast this week, we look at how different writers struggle with letting the things that are easy for them be easy without overcomplicating or overthinking. Let go of the habit of making things harder than they are by working with your brain instead of against it.

In the movie version of my writing life, there's a scene where I walk up and down the aisle of an airplane watching strangers open the inflight magazine with the Bonnie Raitt cover story I wrote. That really did happen: I wrote the story while a freelance newbie and then got to see people reading it IRL. Landing that assignment took persistence on my part. I tried numerous things to make it happen. When I try something spontaneously that turns out to be effective, I don't always recognize that it can be repeated and applied intentionally. In this bonus episode of the Writing Coach Podcast, I unpack the mindset and strategy that led to this assignment. For example, although I didn't have experience covering entertainment (something you'd think would be useful for landing an interview with an A-list Grammy winner like Bonnie Raitt), I found something else about my experience that made my pitch even more compelling did write about social justice and the arts, and I included this as part of my pitch.  Listen and learn how to think differently about pitching ideas that aren't obviously in your ballpark.

Please don't @ me, the title is correct. ;) TK (or a similar place holder, eg “XX” or writing a NOTE IN ALL CAPS) is a practical tool to take to remind yourself that after the current drafting phase you'll need to come back and add some more content or context. Many writers implement TK when they want to stay on task–eg the words are flowing and they recognize it's better to stay in writing mode–but I want to encourage you to also try it when you DON'T want to stay on task. Writing a draft without toggling writer mode/editor mode back and forth allows us to get it done much more quickly. As you practice staying in draft mode, without switching tasks, your ability to concentrate and focus will improve.

What's the importance and impact of seeking out original stories that nobody else is doing? In this conversation with freelance journalist Raymond Joseph, we examine how much a unique story and/or angle matters for you, your career, your editors, and society at large. Ray's investigations into lottery corruption over the past four years have won him both journalism awards as well as threats. When you follow BIG money, people notice. In this episode, we discuss: Collaborating with colleagues Building relationships with editors Preparing to defend a story in court Fact checking as part of your workflow Owning mistakes Handling threats Understanding the editor's point of view

Rebecca coaches a writer live who has worked on a number of pitches but keeps getting stuck in the same place.

Table Mountain is the old school GPS. But here's what happened when I got a teeny bit lost in Cape Town, and how I found my way home—and how it applies to reorienting and evaluating our writing goals. ✏️ Work with me in Freelance Writer Bootcamp Break into your dream publications and get paid well while covering stories that matter. Alumni of my group coaching program have used the proven Bootcamp processes to break into the New York Times, the Guardian, Bustle, Fodor's, Ms., Nat Geo Travel, Al Jazeera, the BBC, and many more.  Apply now for the next session: www.FreelanceWriterBootcamp.com

My word of the year is flow. I began my inquiry asking, where do I already see this in my life? Where can I observe it when I'm writing, and when I'm not writing? What are the conditions that lead to my creating it? What research can I study to enhance my understanding of flow?

Do you expect somebody (eg an editor, a source) or something (an idea, an interview) to make you feel excited about the story you're going to pitch? If so, you'd benefit from changing your relationship with pitching and learn to sell yourself on your story ideas. A similar dynamic is often in place with goals: If you're in an adversarial relationship with your goal, it's time to learn to engage with them in a more fruitful way. This Tuesday, January 17, I'm teaching an exclusive goal setting workshop for everyone who is registered for Freelance Writer Bootcamp (the upcoming sessions as well as alumni). If you join Bootcamp before then, you'll get an invite and get coached on your relatoinship with your goal as well. ✏️ Work with me in Freelance Writer Bootcamp Break into your dream publications and get paid well while covering stories that matter. Alumni of my group coaching program have used the proven Bootcamp processes to break into the New York Times, the Guardian, Bustle, Fodor's, Ms., Nat Geo Travel, Al Jazeera, the BBC, and many more.  Apply now for the next session: www.FreelanceWriterBootcamp.com

When editors start saying YES YES YES to the ideas you send them, your freelance writing life becomes your own AND it becomes more collaborative. Apply now to master the art of the pitch at www.FreelanceWriterBootcamp.com  I teach a 3-step pitching process in my group coaching program, Freelance Writer Bootcamp, that will make you and your future editors fall in love with your story ideas: 1. Learn what your dream pubs want and need before you pitch. Studying the publication before you start to pitch is totally counterintuitive to what most freelancers do. But it will be one of the most powerful shifts you can make once you do it. In this step of the process you'll nail how to: Identify the criteria of what YOU are looking for in an ideal clients so you can spot them Analyze (not just read) what they're publishing so you can tailor your pitches to their audience like a staff writer would, instead of using a generic spray-and-pray approach Reframe a cold pitch as the first meeting in a mutually beneficial long-term relationship 2. Show editors that you get them. This step is the difference between another mediocre pitch and one that gets assigned straight away. You'll discover exactly how to: Find/combine a couple of story elements already on hand to develop an angle they haven't seen–and will find intriguing Create a movie trailer pitch so the editor knows exactly what the reader will experience Support it with a brief plan of how you'll do the reporting 3. Nurture relationships with editors, readers, sources, and yourself. Strong relationships and co-collaboration will create lasting momentum in your writing career. In this part of the process you'll: Put systems in place to follow up on silence, rejections, and assignments Complete the learning cycle with regular pitch evaluations to spur momentum and growth Build your confidence through increasing your capabilities rather than relying on excitement or other people's validation This is the simple, powerful 3-step process you'll follow throughout Freelance Writer Bootcamp. And as a result, you'll learn how to generate nonstop ideas, know exactly where to pitch them, start breaking into more and more prestigious publications (Hello, sweet bylines!), get repeat assignments, and become irresistible to editors. Bootcamp alumni have used this process to break into the Guardian, the New York Times, BBC Travel, Harper's, Fodor's, the Atlantic, Atlas Obscura, Al Jazeera, Travel + Leisure, etc. Freelance Writer Bootcamp alumni have used these methods to break into the next level of their career and build long-term editorial relationships. The next session of Freelance Writer Bootcamp starts soon. Do you want one of the remaining spots?  Real writers get real results with this program. Apply now at www.FreelanceWriterBootcamp.com 

Dancing and writing pitches have some surprising similarities. Today we break down why understanding one choreographic sequence prepares you for learning the next one, and the takeaways for writers. Pitching often seems natural or intuitive *after the skills have been mastered. In Freelance Writer Bootcamp, you'll learn the proven pitching processes that have helped writers break into the New York Times, the Guardian, Bustle, Fodor's, Nat Geo Travel, Al Jazeera, the BBC, and many more.   Apply for the next session: www.FreelanceWriterBootcamp.com

We often notice that an article works on two levels: On an obvious level it's about X, but what it's *really* about is Y. Goals have a similar dynamic, especially when they're well chosen and intentionally take us outside of our comfort zones.  On one level, you identify a goal that's in line with your values and vision for yourself as a writer. And on another level, the pursuit and achievement of this goal shifts who you are. Your beliefs, your identify, your behaviors, all have to change to get the desired result. This is what the goal is about on a deeper level.

I'm kicking off 2023 with a free open coaching session for writers. This will help you start the year clear, creative, and powerful. If you're on my email list, check your inbox for details to join on Wednesday. Otherwise, sign up for my free guide on how to pitch and I'll send you the login info to join. www.rebeccalweber.com/howtopitch  To prepare, simply choose one thing you want help with in your writing life. It might be a challenge you want to address. Or you might notice something in your writing life that you love and want more of this year. We'll meet on Wednesday, January 4, at 12:00 noon US Eastern / 5:00 p.m. GMT.  This session will be live only—no replays this time. P.S. You're welcome to come and request coaching if you're a Bootcamp alumni, if you're brand new to this email list, if you've been listening to the Writing Coach Podcast for years but never reached out before, etc. This free, open coaching call is to help you need right now to start off 2023 with new clarity. See you on Wednesday.

Live events like conferences, conventions, and trade shows can be a rich source of multiple story ideas—or an overwhelming waste of time and energy.  Plan ahead for 2023 by learning how to leave with a small notebook bursting with everything you need to write up pitches for feature ideas instead of a bunch of lousy brochures.

Today you're hearing the interview I had with novelist Jo Buer on her podcast Alchemy for Authors. Jo and I discuss how as an author of fiction and nonfiction books you can take charge of your writing career through freelancing, writing articles to enhance your platform, and increase your social proof. This is valuable when submitting a book proposal/manuscript, when pub day approaches, and in ongoing promotion of your books.

Should you pitch during the holiday season? Yes, if you want more assignments. No, if you want to take time off. There are two valid approaches to taking time off as a freelancer: 1. Take time off during conventional holidays. Editors and sources may be less available; family and friends may be off too. 2. Freelancers make their own schedules and don't need to conform to public holidays. If you want new assignments, pitch away. Many editors continue to check email and assign stories, and fewer freelancers pitch and/or are available. Note that if you had any resistance to pitching during the first 50 weeks this year, you'll have some now too. You'll come up with some very convincing sounding reasons why not to pitch before, during, or after the holiday season. (More about this on the Writing Coach Podcast episode 174, “100 reasons why not to pitch today.”) To butcher the proverb about the best time to plant a tree, the best time to address your mental drama about pitching was the day you began freelancing. The second best time is today. Writers who register now for the January session of Freelance Writer Bootcamp get early access to a Mindset mini course to start addressing these issues of internal resistance right away. Apply to work with me at www.FreelanceWriterBootcamp.com ✏️ WORK WITH ME TO MASTER THE ART OF THE PITCH Apply for the January 2023 session of my small group coaching program, Freelance Writer Bootcamp. Break into your dream publications and get paid well while covering stories that matter.  We cover all the external skills to improve your pitch acceptance rate, and the internal mindset work to keep you from getting in your own way. Bootcamp alumni have used these proven pitching processes to break into the New York Times, the Guardian, Bustle, Fodor's, Condé Nast Traveler, Al Jazeera, the BBC, and many more. Let's get started: www.FreelanceWriterBootcamp.com

For many freelancers, getting sick quickly becomes finding hours or days when you're able to push yourself to get things done vs. not getting paid, rather than taking actual time off. Today I'm talking about my own experience contracting coronavirus, and discussing how to care for yourself and your freelance writing business when you get sick in general. We look at getting rest, saying no, prioritizing, and transitioning back to full days while respecting your limitations.

Today we're looking at how your mindset impacts your ability to implement strategy effectively.  One tricky thing about mindset is that when we can't recognize that we're believing something that's holding us back, we don't take action because it seems like a fixed reality. For example, if you believed that a story had no possible news hook, you probably wouldn't look for one. If you believed that the same story had multiple possible news hooks, you'd almost certainly include one or more—and be far more likely to land the assignment.

One of the participants in this discussion from the archives, Yolisa Qunta, passed away last year. Listening to this episode again reminds me of her heart, insight, and humor. I'm thankful to have had her as a writer friend.  In this episode, we discussed the challenges and opportunities for multilingual writers. We speak with freelancers from Brazil, Poland, and South Africa, who have all used their locations and language skills to build relationships with editors overseas. This is a fascinating discussion for everyone interested in developing a better understanding of international coverage. + Centering local stories for foreign audiences (i.e. not allowing an “othering” or so-called exotic gaze) and making sure that editors understand the cultural significance of story angles + Working as a fixer with a foreign correspondent and networking to find freelance gigs + Building confidence with language skills and leaning into an understanding of local topics + Crafting different angles for editors in different countries + Challenging stereotypes about who can be and who is best suited for covering news in foreign countries, e.g. a non-Western perspective

Allison B. Salerno's award-winning writing and audio production has been featured on Southern Foodways Alliance's Gravy podcast, America's Test Kitchen podcast, Proof, on local NPR stations, and in The Washington Post, Ms. magazine, and Columbia Journalism Review, among others. Allison's audio news features have earned her two Georgia AP awards and a Gabby from the Georgia Association of Broadcasters. A former daily newspaper editor and writer, she has more than two decades of experience covering a wide range of topics. Allison now focuses her work primarily on finding the human stories behind food systems, agriculture and environmental issues. An inveterate traveler, she currently lives in Athens, Georgia. We cover a lot of freelance ground in this episode, including:  Finding a new home for a killed story Shaping stories for audio and print Discovering a story while hiking on the Appalachian Trail Starting with a single data point to develop a feature Getting into the Talent Network at the WashPo Quarterly goals Overreporting What's the minimum I need to write this pitch? Suspend the stories you tell yourself about freelancing “Everything I do matters” Don't minimize  Being successful in your writing life while managing everything else in your life Remote reporting that reads like you were on the ground “I'm going to figure this out” Taking care of an elderly parent as a freelancer Advantage of being outside media centers Pitching at odd times

Once you start fact checking your mind, you'll notice there's a lot of stuff you're telling yourself that isn't true AND that isn't helpful. This awareness doesn't mean that the faulty thought won't keep coming back. It's usually counterproductive to tell yourself, “Don't think that!”  You can instead decide ahead of time what you do want to think and practice it to help build a new neural pathway in your mind. Today's episode looks at one of the most detrimental thoughts that a freelancer can have when pitching stories. It's so pervasive that you may not see it as a problem—or you may feel powerless to change it. Let's unpack this way of thinking so that you can recognize it and make a plan for a new and more powerful way to get assignments with your ideal clients.