The Freelance Writers Success Formula - Final PDF

The Freelance
Writer’s
Success Formula
What to Pitch
+
Where to Pitch it
+
Who to Pitch it to
Carmen Rane Hudson
Freedom With Writing

Copyright 2016. All Rights Reserved. Do Not Duplicate,
Distribute, or Copy Without Explicit Permission.
Complaints, questions, comments, queries? Email

Jacob@freedomwithwriting.com
To share this book, please send people to:

http://www.freedomwithwriting.com/success-formula/

Editor: Jacob Jans
Copy Editor: Marian Black
Author: Carmen Rane Hudson
Special Thanks to Allen Taylor, Vanessa Rombaut, and Jean

Henshaw

Bellingham, Washington

Contents
Introduction .....................................................................................6
The Formula .....................................................................................8
What to Do......................................................................................21
Sample Pitch Letters .................................................................... 30
Cold Calling ................................................................................... 34
Networking .....................................................................................41
Social Pitching............................................................................... 44
Where to Do It and Who to Talk To........................................... 49
Volume: How Much is Enough? ................................................. 62

The Freelance Writer’s Success Formula 6
Introduction
Does the thought of marketing your freelance writing business

inspire anxiety attacks? Do you dream of grabbing certain
gigs, only to pass them by because you’re not sure what to say,
or who to reach out to? Do you spend more time looking for
template letters so you know what “real writers” send to
potential clients than you do actually contacting clients?
If so, this book is for you.
By the time you’re done reading this book you’re going to

know exactly what to do. The process of getting a gig will be
boiled down to a simple, easy formula that anyone can follow.
And you’ll never, ever need to be afraid of looking foolish
when you reach out to editors or potential clients, ever again.
But watch out! If you follow this formula correctly, you may
just get more work than you know what to do with in the
future…even if you don’t have any experience right now.

(Okay, okay, so that’s a great problem to have.) Follow the

formula, stop spinning your wheels, and start making money.
I’ve been a freelance writer since 2009; I’ve written my share

of pitch letters and made my share of cold calls. I’ll be sharing
some of these with you later on. You’ll also hear from other
seriously successful freelancers on how to make each element
of the formula work, and work perfectly.
Who This Book is For

This book is designed primarily for beginners, people who are
either just getting started in their freelance writing career or
who are not getting the gigs they want. The idea is to give you
a quick, easy way to find some great gigs and to do so on a
regular basis. The goal is also to ensure that you don’t feel any
fear or hesitation when you get ready to contact potential
clients, even if they don’t have an existing freelancer’s job post
floating around out there somewhere.

The Formula
The formula is actually very simple.
Mindset + What + Where & Who + Volume = Success!
If you have the right mindset you will be able to relax and
connect with potential clients in a way that speaks to them.
You’ll also know how to study your potential clients so you can
figure out where the opportunity is.
Next, you have to know what to do in order to make your

approach. You’re about to learn several easy methods that you
can use: traditional query letters, letters of introduction, cold
calls, response letters, and social media outreach. To keep
things easy, we’re just going to call these methods your
“pitches.” You’ll also learn what you should do in order to
make your pitches as effective as possible.
You have to think about where your writing work is going to

come from. Fortunately, as a freelancer you have a myriad of

options to choose from including businesses, agencies, and

publications. We’ll discuss all of those options. Eventually,
you’ll be able to focus your efforts on the options that work
best for you, your interests, and your writing style.
Of course, if you don’t reach the right person you will

dramatically reduce your chances of getting the gig, so it’s
important to know who you’re going to reach out to. You
want to be able to “pick your person” with confidence. That
person’s title and role will change depending upon the type of
gig you are trying to accomplish. Usually you will be speaking
to an editor, marketing director, content director, creative
director or business owner.
Finally, you need to connect with enough potential clients to

generate enough gigs. That’s where volume comes in. You
will not land every gig. That’s normal. Depending upon the
types of gigs you are pursuing you may forge relationships
with one out of every ten potential clients that you contact, or
one out of every twenty-five, or even one out of every fifty.
While you don’t want to spam potential clients with
meaningless, untargeted marketing efforts just to create a lot
of volume you do need to contact enough clients to keep your
editorial calendar full. One gig and one client won’t cut it.
Volume is different for everyone. However, this book includes
a plan that you can use to get started.
Tip: Before you begin, make sure you have at least the basics
of a writer’s website in place. Most potential clients will not
take you seriously without one! It doesn’t even have to have
clips or samples on it. Use it as an opportunity to showcase
your copywriting skills.
Mindset
To get your head on straight you need to accept several key
ideas.
1. There are no “secret handshakes.”

2. It’s perfectly okay to be yourself.
3. Whether or not you are “good enough” to do this
should be the furthest thing from your mind.
4. You are not inconveniencing or bothering anyone.
Let’s tackle them one at a time.

There are no secret handshakes.
Have you ever paused in the act of sending a query letter or

letter of introduction because you’re just not sure what real
writers say? Did you frantically search about for some sort of
template that might tell you, only to learn that such a template
doesn’t really exist?
If you’re like many writers, you decided not to apply for the
gig at that point. Perhaps you decided you didn’t want to look
stupid. Maybe you found yourself saying, my idea/credentials
aren’t really that good yet. I’ll come back to this when they
are. This kind of thinking keeps writers locked into a pattern
of only contacting gigs that they find on job boards or bid
sites. These sites represent the mere tip of the iceberg when it
comes to locating all of the great clients who are out there.
Chances are you still haven’t applied to that gig, or any other
gig of similar quality. You’re still trying to figure out what a
“proper writer letter” looks like.
Here’s the secret…there’s no such thing.

You can actually say anything you want in a pitch. Anything.
There are certainly effective ways and ineffective ways to craft

a pitch, but there are no rules. Sometimes a short five-line
email can be as effective as a beautifully polished five-
paragraph letter. Sometimes, it takes a phone call instead.
No matter which method of communication you choose, your

job is pretty simple:
 Pique the contact person’s interest.

 Tell them why you’re the right person for the job.
 Keep it all about them and their needs.
If you do those three things you could write a poem in iambic

pentameter and the sky is not going to fall. (You’re probably
better off avoiding iambic pentameter, but you could do it.)
If your contact person isn’t interested, he or she will hang up

or hit delete, then forget about the whole thing. Meanwhile,
unless you were particularly strange, rude, desperate or creepy
you will be welcome to try again.

Tip: Avoiding strange, rude, desperate or creepy pitches is

easy. Don’t offer to do any personal favors. Don’t send
anything pink or perfumed. Do not send food or flowers or any
other gifts. Don’t insult the company, publication, or contact
person in any way. Don’t make any threats. Don’t tell your
contact person that what they’re about to read will be life-
changing, make them a millionaire, or will be better than sex.
Don’t apologize profusely for your lack of experience. Don’t
tell them your life story…especially if your life story involves
having multiple illnesses, brushes with the law, or money
troubles. If you find any of that stuff creeping into your pitch
because you are nervous, simply and ruthlessly cut it out and
get back to the good stuff. Simple, right?
It’s perfectly okay to be yourself.
In fact, it’s pretty much preferable, unless you are rude,

desperate, strange, or creepy (see above).
Speak and write the way you’d speak or write for the company
or publication. Chances are you’re drawn to certain
publications or companies because you actually share an
interest in what they’re doing, or you hav e a similar writing
style. Why would you want to mask that very real asset by
trying to be someone you’re not?
Don’t focus on being formal, or on formatting the letter just

so. Instead, spend that energy making sure you’re addressing
your e-mail to the right person and that their name is spelled
right. Spend the time making sure you understand the
company or the publication so you can do a better job of
hooking them from the very start.
Tip: Imagine the contact person as a friend, or as a relatively

nice person you’re being introduced to at a party. Do not
imagine them as your high school principal, your fussy great-
grandfather, any character played by Ben Stein ever, or
someone who wants you to speak as though you’re straight out
of an 18t h century comedy of manners.
Whether or not you are “good enough” to do this should

be the furthest thing from your mind.
Dirty little secret: crappy writers get gigs all the time.
Sometimes, they even get really good gigs.

Often, the writers who get gigs are not the most talented
writers in the world. They are, quite simply, the writers who
had the courage to pursue gigs and clients that made sense for
them. No more, no less.
This is not to say that you should strive to be a crappy writer.

You should of course do everything in your power to do great
work. You should try to improve however you can, even later
in your career, when you’re making a solid income and getting
more gigs than you can handle. Always be learning.
You should also, of course, use proper grammar, and try not to
spell like a drunken fifth grader. You should read plenty, and
get to know the rhythm of the language. But when you know
for a fact that you’re doing all you can do to be the best writer
you can be, it’s time to stop worrying about it.
This is not to say that anyone can do the work you’re trying to
do. Everyone cannot write, and the work you’re going to be
doing is extremely valuable as a result of this. But you
wouldn’t be attempting to build a career as a freelance writer
if you didn’t think you had at least a little bit of skill.

It’s also true that evaluating any given piece of writing is a

highly subjective exercise. Even at the pinnacle of your career
there will be some people who think everything you put out is
solid gold. Others will be all too eager to let you know they
despise everything you do.
So you should spend exactly zero time wondering about

whether or not you’re good enough to get the gig. Instead,
spend 100% of your time trying to figure out the most
effective way to get the gigs you’re currently targeting. If you
get the gig and get paid for it, you were probably good enough
for it. You obtain even more validation if they hire you again.
In the meantime, you don’t have any time to waste. Move on
to finding the next client.
If you don’t get the gig, figure out how you can improve. Then
keep trying, either with that client or another. If you really are
crappy, the practice you get while writing pitch letters will
make you better over time. Sooner or later, you’ll at least
become competent. Saying that you’re a competent writer—
rather than a brilliant writer—isn’t much of an ego-builder
and it doesn’t play well at family reunions, but it hardly
matters. What matters is: you can build a career on being
competent. You cannot build a career wondering whether or

not you’re “good.”
As it is, you’re probably better than you think you are. Writers
tend to be their own worst critics.
You should also be aware that few clients care much about
your credentials. They never care about whether or not you
have a top-notch education. They’ll be indifferent if you don’t
have an MFA or similar degree, and they’ll be indifferent if
you do have one.
Believe it or not, often, they barely even care about past jobs
or successful clips of past publications. They care about your
understanding of their business or publication, and your
ability to write…no more and no less. If you can demonstrate
that you know how to write you will often land the gig.
You can demonstrate that in just a few short paragraphs when

you’re sending out a written pitch letter. Sometimes you’ll
demonstrate it with clips of previous work. Even if you don’t
have any clips, your writer’s website will create an opportunity
for you to show what you can do. Don’t have clips? You can
simple decide to write up a few blog posts, web pages, and ads
that will never be published. Use them as writing samples
whenever you’re asked for a portfolio.
You might as well put yourself out there…there’s nothing

stopping you!
Tip: You will never figure out if you’re a talented writer,

because doubts will always plague you. However, it’s pretty
easy to figure out whether or not you are a paid writer. Worry
about honing your skills and filling your bank account. Lots of
talented writers starve. If you fail to get your head right about
this, you will constantly talk yourself out of reaching out to
people who might hand you amazing gigs.
You are not inconveniencing or bothering anyone by

reaching out to ask about a gig.
Freelance writer Jean Henshaw

(http://jeanhenshawonline.com/) gets 100% of her gigs from
one of the scariest methods out there: cold calling. You might
expect to hear that she gets a lot of rejection, or deals with lots
of people who grow angry at the interruption.
But you’d be wrong!
“Whenever I get someone on the phone,” Henshaw says, “they

always say: I can’t believe you’re calling, it’s so weird, this is
so great, how assertive of you, how brave of you, nobody
does this anymore.”
Cold calling is not like telemarketing. Businesses call

businesses to do business. Companies want and need to hear
from you. This is not the same as interrupting someone during
dinner to offer them some sort of scam vacation package.
Writer Allen Taylor (http://tayloredcontent.com/) agrees. He

does most of his work for businesses. He uses pitch letters, but
the response is the same: “I can’t think of a time when
someone has said, 'No, don’t bother me!' There are times
when I don’t get a response, but nobody’s ever told me not to
contact them again, or expressed any negative feelings about
being contacted.”

Every business and publication in the world needs some form

of written content in order to survive, especially in the
Internet era in which “content is King.”
Most people in the world either don’t have time to write, don’t
enjoy writing, or do not have what it takes to write effectively.
Thus, many of the individuals you will be contacting
desperately need someone right now. When you contact them
and tell them exactly why you are the right person for the job
you are actually doing them a service. You’re making their life
a lot easier. They don’t have to go looking, and they don’t have
to sort through a whole bunch of options.
Getting your head right about this will be a direct help to you
when you try to pitch. People will sense your tentativeness and
lack of confidence if you are coming to them with the idea that
you are bothering them in some way. Instead, you want to
come across as confident and in control…easy to do when you
know that most people will actually welcome your pitch!
Tip: If you get the “Where & Who” part of the equation
correct, your contact person may even be happy to hear from
you!
What to Do
It's time to craft some hard-hitting, effective pitches that will

help you get the gig!
Types of Pitches
Generally, your pitches will take one of four forms:
 Query Letters
 Letters of Introduction
 Cold Calls
 Response Letters
Occasionally, you might also write something “on spec,” that

is, you’re going to write the entire piece without any
expectation that you’re going to get paid, and you’re going to
submit that piece. Generally, this is only done with personal
essays, memoirs, fiction, poetry, and travel pieces. You’re
going to pitch virtually everything else.

A query letter is a letter about a specific project idea. Usually

you’ll be sending them to editors at magazines. You’ll have a
specific story that you want to tell. You will be hoping the
editor will give you the go-ahead to write the project. If the
editor accepts your query , he or she will usually hand you an
assignment. You’ll get a deadline, and a promised payment
amount.
A letter of introduction introduces you and your qualifications

to an organization you want to write for. You will typically use
this format with businesses. You may also use them with trade
publications or organizational publications that don’t really
accept query letters.
A cold call is just what it sounds like. You’re going to pick up

the phone and call someone who can give you a gig.
A response letter will be used whenever you are responding to

a specific job post, RFP, or classified ad. In this case, you know
a need exists…now all you have to do is convince the contact
person that you’re the perfect person to fill that need.

Tip: Some people have a lot of luck combining these

approaches. Freelance writer Vanessa Rombaut
(http://vanessarombaut.pressfolios.com/) says, “I tend to
write a bit of a hybrid letter…a letter of introduction with three
very short ideas for topics they might be interested in
publishing.” The approach here is to get your contact person
interested in what you can do on an ongoing basis, rather than
getting too hyperfocused on a specific idea or topic.
Elements of an Effective Pitch Letter

Remember, when you’re pitching you can say just about
anything you want, just about any way you want. However,
any effective pitch is going to contain three important
elements.
The opening gets your reader’s attention. If you’re pitching a

specific story to a specific publication you might even use the
very same opening that you’ll be using in the article you are
hoping to write. You can also use relevant statistics or even
quotes that you’ve gathered from sources in order to add the
bit of zing and interest that will help hook an editor (and

show, in the process, that you have what it takes to hook a

reader).
If you’re trying to get the attention of a marketing or

communications director at a major corporation your opening
might be as simple as saying, “I’m a freelance writer.” Taylor
recommends this approach, saying, “Being indirect, and
hinting that you want them to hire you, might just send the
wrong signal. It says that you’re not confident, especially if
you’re contacting them via e-mail.”
The body of your pitch tells your point of contact two things:
 You understand their business, organization, or

publication. This will demand some research on your
part, unless you are already a reader of the publication,
a member of the organization, or a loyal customer. If
so, you can say so. Just make sure you make reference
to a recent article, social media post, or event so that
the reader knows you’re not just making this
connection up.
 What you believe you can accomplish for them.
Whether this is writing an article or simply saying, “I
can write any type of marketing materials you might

need,” it’s important to clarify what you want to do for
them.
Demonstrating that you “get it” is incredibly important

whether you’re pitching a business or a publication.
In fact, Taylor says that some demonstration of this

understanding is probably the one thing that most business
owners do not get out of most freelancers. “They want to work
with someone who understands their customer and their
business model. And you can’t assume you know. Convey to
them that you understand their business, not just their
industry. Two companies can have two vastly different
business models within the same niche. If you approach these
companies with the same generic pitch you’re going to miss
both of them.”
When you’re pitching a publication it’s also important to keep

in mind that most publications do have guidelines. You can
usually find them on the publication’s website under “writer’s
guidelines,” “submission guidelines,” or even a page called
“write for us.”
“Find their guidelines and make sure you follow them to a

tee,” Rombaut cautions. “If you can’t get through that, they’re
not even going to answer you.”
This is not to say that you can never reuse any part of a pitch
letter. Sometimes your “about me” section will be more or less
boilerplate, unless you’ve built a huge resume that allows you
to pick and choose which clips or elements of experience you’ll
be focusing on.
However, the opening of your letter and the body of your letter
offer you a way to shine, and these should be tailored to a tee.
These are the areas where you’ll add all of the customization,
using your writing skills to help your reader understand that
you really “get” their publication or organization.
The close talks about you and your qualifications, and

suggests a next step.
You don’t have to spend a mountain of time on talking about

your qualifications. You’re not writing a resume so much as
you’re offering some brief selling points, which tell your

contact person why you’d be a great fit for their needs. Your
qualifications could include:
 Industry experience, in any capacity (not just writing).

 A list of places where you have been published.
 Something you do which might make their lives easier,
such as being willing or able to take on tight deadlines.
Do not add any irrelevant information in the close. You could

talk yourself right out of a gig! Irrelevant information
includes:
 How long you’ve been writing, even if you only started

this morning.
 Your marital, familial, or employment status.
 The state of your health.
 Whether or not you think your pitch is good, great,
terrible, or needs work. Let it stand on its own merits.
 Any other detail about your personal life.
Remember, irrelevant information tends to make y ou look

rude, creepy, or desperate (see above).

Tip: You do not have to have a great deal of experience or a

mountain of clips to make a case for why you might be the best
fit for an assignment. In fact, some letters don’t even address
the author at all, choosing instead to focus on the research
that the writer has done on a particular topic. For example,
Rombaut got herself a gig writing about RVs. “I didn’t know
anything about them, but I did my research. Showing you can
write is the most important thing!”
The “next step” might vary. You could:
 Ask for the assignment.

 Ask them to take a look at your website or portfolio.
 Ask them to keep you in mind for future assignments.
 Ask for permission to send some clips.
In copywriting, the “next step” is known as a call to action.

Make sure you tell your contact exactly what you’d like them
to do next. Reading is a passive activity. You need your contact
to get into “active” mode so he or she can hire you!

Tip: You can mix these elements up. If your background in an

industry is a selling point for a publication, then feel free to
put it right at the front of your letter.

Sample Pitch Letters
The following letters are not templates! They are simply

examples of how all of these elements might look when they’ve
been brought together.
Sample Pitch Letter A – Query Letter to a

Magazine
The following letter won me a full-length feature article with
Cat Fancy magazine. You’ll notice I didn’t have any
credentials to speak of at the time, but it didn’t matter.
Focusing on the publication, the readers, and the article idea
were enough.
Dear Ms. Logan:
Every holiday season, cat owners struggle to keep their feline

friends from tangling with an enticing newcomer: the family
Christmas tree. In response, pet owners have come up with
solutions that range from the practical to the whacky.
I am proposing a 500 to 800-word piece for your Christmas

2013 issue which would cover 5 or 6 of these solutions, from
stringing decorated garlands all over the house for a tree-like

effect that is well out of kitty's reach to hanging trees upside
down. I would interview other cat owners to gather
additional examples.
I have been a professional ghostwriter since 2009. Please let

me know if you would like to move forward with this article.
Sample Pitch Letter B – Letter of Introduction to a

Digital Marketing Agency
In this case, I cold called the agency first to get the name and
contact information of the person I needed to send an email
to. You’ll notice I also stressed the industry experience that I’d
developed with digital marketing agencies over the years, as
well as with publications that catered to this industry. This
little letter resulted in over $15,000 worth of work over the
course of one year!
Hi Mr. York:
I'm a freelance content writer who specializes in working

with SEO and local SEO firms like yours. I spoke to Mark
today and he said you were always looking for great content
writers.
I feel I'm uniquely suited to create the content that will really
help your clients. I've been published by The Search Engine
Journal and Business 2 Community. I've been hired by other

top notch SEO companies, like Whitespark and Phil Rozek's
Local Visibility System. I've worked with Linda Buqet to
develop content for her Catalyst Local Search forum.
Let me know if and how I can help. I look forward to serving

both you and your clients.
P.S.: I do specialize in rush jobs, as well. Give me a call if

someone's dropped the ball recently...I'll help you "wow"
your clients by getting the copy delivered right on time.
Sample Pitch Letter C – Response Letter to an

Online Publication
In this letter, I was able to land the gig by focusing heavily on
my existing industry experience. The website in question was
looking for people to write reviews for various security
products and services. You might notice that while parts of the
letter were basically boilerplate, the bulk of the letter was
individually tailored to the prospective client. This one got me
a $300 blog post assignment.
Dear Jen:
I saw your ad and, after visiting your website, I thought I

should reach out to you right away. I'm a rare sort of
writer...someone who spent 2 years selling security products

to homeowners and business owners.
I know the industry. I know how to tell the difference

between a good security product and a mediocre one. I've
blogged for other security companies. I actually have a real
love for the industry...it keeps people safe, and few other
industries can say that.
Now, on to my writing credentials.
I've been published

by The Search Engine Journal and Business 2
Community. I've been hired by top notch SEO companies, like
Whitespark and Phil Rozek's Local Visibility System. I've
worked with Linda Buqet to develop content for her Catalyst
Local Search forum. I've even written a feature for Cat Fancy
Magazine (December 2014), and while that doesn't say much
about my ability to write web copy, I do hope it still speaks to
the overall quality of my work.
In short, I've demonstrated to companies and publications

that I'm reliable, trustworthy, and that I deliver the goods.
Please get in touch with me if you think I'd be a great fit for
your needs. I'd love to start writing for you soon!

Cold Calling
Cold calling? Picking up the phone and talking to perfect

strangers to try to get gigs? It may sound terrifying, but for
Henshaw it’s the best and only way to get business.
“I don’t blog. I don’t tweet. I don’t do Facebook. In terms of

the amount of time it takes to get a client the ROI of cold
calling is phenomenal. In ten calls I can land two clients.
Why? Because I already have a good idea that the people I’m
calling need a writer before I pick up the phone. More
importantly, they know they need a writer. So it’s not selling.
It’s just presenting my services.”
If you’ve already adopted the mindset that you are not

inconveniencing or bothering anyone (see above), then cold
calling is easy. Figure out who you’re going to speak to or ask
for, know what you’re going to say, and dial.
Henshaw says she rarely gets the person on the phone, but
that voicemail is equally productive. She uses it to tell people
that she’ll be sending them some information, either via an e-

mail address that she’s dug up for that individual, or even via
their website’s “Contact Us” form. Often, they email her back
with gigs. Thus, she combines cold calling with warm pitch
letters to get results.
When she does get a live person on the line, she simply sits
back, relaxes, and answers their questions. Sometimes, after
describing her experience and her rates, she’s managed to get
hired on the spot.
If the more casual approach does not work for you or if you
feel uncomfortable asking for a gig on the spot, you can simply
ask for permission to send an e-mail with more information.
Gathering e-mails over the phone and gathering permission to
send them is not nearly as intimidating as selling, and you’ll
have a much higher success rate. After all, it takes very little
commitment to give someone permission to send an e-mail.
Cold calling can turn your cold pitch into a warm lead that will
get you that gig. You can always write a little script for yourself
before you begin (you’ll find a sample script below).

Every cold call should give the following information:
 Your name.
 A way to get in touch with you.
 What you do (you’re a freelance writer).
 What sets you apart.
 A close.
Since the first three are fairly self-explanatory, let’s tackle the
fourth one. You need to be able to tell people what makes you
special in just a sentence or two. Henshaw draws on her
former career, saying simply, “I’m a former journalist, so I
understand deadlines.”
“I go right to the benefit,” she says. “It tells them: this is

business for me. I’m trying to feed my family. A lot of writers
simply disappear—I hear that many companies have to go
through seven writers just to get one good one. I want to let
them know, right away, that I’m not going anywhere.”
You may not be a former journalist like Henshaw, but there is

still something that makes you unique as a freelance writer. It
could be:
 Your industry experience.

 Your quick wit and penchant for humor (if appropriate
to the company).
 Your ability to work faster than most.
 The length of time you’ve been in business.
 Places you’ve been published.
 Specialties (medical writing, financial writing, etc).
 Anything else you can think of which will pique the
interest of the person on the other end of the line.
Obviously, you should not promise anything that you will not
or cannot deliver. If you do, you won’t keep the client for long!
Tip: When it comes to cold calling, keep in mind that how you
speak can be as important as what you say. If you speak in a
meek, soft, apologetic voice you will convey that you are not
confident in what you have to offer. If you speak too slowly
you might bore the listener into hanging up on you (or run out
of time on the voicemail). Speak as though you were a radio
DJ, news anchor, or an actor delivering lines. You want to be
warm, genuine, confident, and fast.

How about the close?
When cold calling, your primary goal is to move the process

forward. If you’ve gotten a live person on the phone and the
conversation has gone particularly well you might ask, “Is
there anything I could help you with right now?”
If you’re not comfortable with that or have gotten voicemail, it

is, again, perfectly valid to ask for permission to send some
clips or to ask for an e-mail address where you can send more
information.
Sometimes you’ll get gigs right away. Sometimes you’ll hear

back from one of these individuals months after making the
call. Sometimes they’ll tell a friend of a friend about the call,
and you’ll get a gig that way.
Either way, you will get a lot done in exchange for devoting
just an hour or two of your time to cold calling each week. And
if you’ve lost a major client, have huge gaps in your editorial
calendar or simply don’t have any work at all, cold calling is
one of the fastest ways to start putting money in your pocket.

Finally, do not get discouraged. “If they’re not convinced,

don’t worry about it,” Henshaw says. “Bless them, hang up the
phone, and move on to the next call.” Cold calling is very
much a numbers game. If you’ve identified a client type which
works well for you, it doesn’t even require you to do a lot of
extensive research on the companies you’ll be calling before
you get started. Often, it’s enough to get the name of someone
who might hire you, and a phone number. Gather your list
before you begin, set yourself a quota for the day, and dial
until you hit the quota. It’s that simple.
Sample Cold Calling Script

This simple script is short and to the point. Keep in mind that
you should not feel bound to the script. If the person on the
other end of the line starts asking you about your rates and
availability, just answer the questions like a human being.
They might be desperate for help right now, and you don’t
want to talk yourself out of the sale if they’re ready to offer you
a gig on a platter just because you were bold enough to give
them a call!

“Hi, my name is ___________. I’m a freelance writer who

specializes in ____________. Do you happen to hire
freelancers?"
If they say yes…
“Great! I don’t want to take up too much of your time. I’d just
like to get your e-mail address so I can send you some
information about my services, if that’s okay."
If they say no…
“No problem…can you please transfer me to that person’s

voicemail?”
Tip: If you don’t specialize in anything you can substitute any

selling point you want. The script could read, “I’m a freelance
writer who has been in business for fifteen years,” or, as
Henshaw says on her calls, “I’m a former journalist, so I
understand deadlines.” Again, make sure your selling point is
true and accurate…don’t say you’re a former journalist if
you’re not one!

Networking
Networking is a little like cold calling in that it is an excellent

way to get “warm leads” for your freelance writing services.
It’s also easier than you think it is.
It can be as simple as going to a Chamber of Commerce

lecture and introducing yourself as a freelance writer when
everyone goes around the room. More often than not,
someone will pull you aside to talk to you after the event,
asking about the kinds of work that you do and what your
rates might be.
Networking is not limited to events, however. As Rombaut

says, “Get some business cards made up. Tell absolutely
everyone that you’re a writer.”
It’s okay to be nervous.

“Everyone is as nervous as you are,” Rombaut says. “Smile.

Have a good time. Relax. Don’t be a salesperson. Let what you
do come up naturally in conversation. People are naturally
interested in writers and what you do, so just have fun. Even if
you don’t make any business connections, you’ll certainly
make friends.”
As with cold calling, you can naturally answer someone’s

questions if they have them. You can also get their business
card and ask if you can send an e-mail with more information.
However, networking is valuable even if you never get the
chance to do this. Word gets around. Befriending people—
genuinely befriending them—at events means that you’ll be
the first person they think of when one of their own
connections is in need of a writer. Soon, people might start
calling you, letting you know that they heard about you from a
friend of a friend. If you meet some interesting new friends,
try to stay in touch with them. You can do this online, or you
can periodically meet for coffee and lunch.
Networking offline also gives you the opportunity to get new

story ideas. This is invaluable if you want to focus on writing
for business magazines, or for trades. You’re simply never
going to find out what’s going on if you’re not willing to get out
of your office to learn what’s on people’s minds.
Tip: If networking doesn’t seem to be working for you, change

up your venue. If you want to specialize in writing for a
particular industry, try out some trade shows. Find
networking events where decision makers will be present. Try
your local Rotary Club, or find some associations. Even your
high school reunion might prove to be promising.

Social Pitching
Response letters are some of the easiest letters to write, if only

because they’re less nerve-wracking. It’s easier to get into the
mindset that you aren’t bothering anyone when you know the
person at the other end of your overture has already identified
a need.
While you can find good gigs on traditional job boards,

Craigslist, and bid sites, they aren’t always the best gigs. They
also come with a lot of heavy competition. Often, you’ll find
yourself in a race to offer the lowest possible rates as you
struggle to compete with hundreds of other writers all writing
the same sorts of letters. Of course, watching highly curated
gig listings like the ones sent out by Freedom With Writing
will give you an opportunity to find gigs from some
outstanding sources as well.
But let’s assume you already know all about job listings and
job boards, since most freelancers start there to begin with.
Instead, let’s take a look at how you can use social media to
score jobs that fewer people are seeing. Social media sites
offer a way to get wind of gigs that everyone else isn’t always
looking at. It also offers you access to decision makers.
Fiona Tapp (http://www.fionatapp.com/) is primarily a

parenting writer. She’s also extremely adept at using Facebook
and Twitter, both to locate gigs, and to score them.
She describes this as a four-step process: identifying the gig,

figuring out who to talk to, researching the company or
publication’s social media accounts, and then writing a
response letter to score the gig.
“I’m on quite a few Facebook groups. Some are local to my

city, and some are more general. I’m also on a couple of
Mummy boards. People will often post jobs on these boards.
On Twitter, I’ve been following threads for the freelance
writing gigs. I just regularly go to #freelancegigs or
#writingjobs. I don’t have to look on job boards anymore.
Often these are better gigs; sometimes companies will look for
writers on social media before they go out into the big world.
These are usually corporate jobs, and often you can turn them
into lasting, repeat clients.”
Tapp does mention this is a numbers game. “It’s a lot of

trolling and pitching, but your response percentage will be
better than with cold pitching. I get almost all of my work this
way.”
Tapp lets her social research give her the insight she needs to
personalize her response letters. “Before I apply for any job I
like their page, follow them on Twitter, and do a little digging.
I read a few posts—not from that day or even that week. I dig a
little deeper. It’s a little like being a detective. Often, I find
they’ve made some sort of great post that I can talk about in
my letter. I always say something complimentary about things
they’ve posted or things we have in common. I find this helps
me create a relationship with them right off the bat. Before I
go into what I can do for them I’m always careful to create that
connection.”
One of the best parts about using social media is that it can
put you directly in touch with decision makers. The people
who quickly fire off a 140-character request for a writer might
well be the very people you need to speak to, rather than a
gatekeeper. This makes it easier for you to get hired faster.

Sometimes you don’t even have to go to e-mail. On Facebook,

you have the space to fire off a response letter via a direct
message. Even on Twitter, you can respond with a quick direct
message to let them know you’ve sent over an e-mail in
regards to their job post, so they can be looking for it. Using
these multiple points of connection can help you strengthen
your position at the top of the contact person’s mind.
LinkedIn offers another fantastic place to find gigs, even

though most of the jobs LinkedIn lists are for in-house staff
writing positions. “I do like how you can see how many people
have applied for those,” notes Tapp.
Tip: Tapp offers these final words of wisdom: “Make sure

your profile is really stellar. You want it to present your
professional best.” That means you want a professional
photograph. You also want to make it clear that you’re a
freelance writer. Link your profiles to your freelance writer’s
website. Make it easy for potential clients to see who you are
and what you do at a glance. If you make them guess, they
might just move on.

Choosing a Method
The method you choose to make your pitch will depend on the
type of organization you are attempting to contact. A
consumer magazine will always want a query letter. They will
not respond to anything else.
A trade magazine or organizational publication will either

want a letter of introduction, or a mix between a letter of
introduction and a query letter.
Businesses and agencies respond well to cold calls and letters

of introduction. Sometimes you can “query” them by noting
what might be missing from their marketing mix, but
generally you'll want to let them offer you assignments based
upon their own assessment of their needs.
Obviously, if you’re responding to a social media post or a job

opening that you’ve spotted somewhere online then you’re
going to use a response letter.

Where to Do It and Who to Talk To
There are an endless array of potential clients to write for.

Your contact person will different depending on the type of
organization that you choose, which is why the “where and
who” parts of the formula are lumped together.
Don’t get overwhelmed! You might be thinking, “Where do I

even start?” Choosing where you will begin looking for gigs
does not have to be hard at all. Think about:
 All of your past work experience. You can draw

upon job titles and industry experience to create a
connection. (Even if you got fired.)
 Your hobbies and other interests. If you love crafts
then you’ll probably be great at writing about crafts,
too.
 Organizations in your local area.
 Organizations that you’re tied to through your
family, friends, or business network.

Eventually you’ll figure out where you’re going to make most

of your money. When you do, you might even consider
sticking to that niche exclusively. “Build up your reputation.
Once you pick a niche, really go for it,” advises Rombaut.
“Because that’s where you’re going to get the most money:
being an expert in the field.”
When you’re getting started, however, you should try to

contact as many different types of organizations as possible.
Why? Because their response times will differ wildly. Small
businesses and digital agencies will move very quickly,
whereas magazines may take months or even years to get back
to you. You need a good mix of gigs to keep your cash flow
steady.
Businesses and Other Organizations

Step out onto any busy street in your neighborhood and you’ll
see dozens of businesses, hospitals, non-profits and other
organizations. Most of those people need some form of writing

work done at some point or another. Now, all you have to do is

figure out who to contact, and how to approach them.
“All businesses have different needs and different budget s,”

notes Taylor. “There are different ways to approach small
businesses versus mid-size companies or mega-corporations.
They have different needs and different budgets.”
Small businesses want to see that you understand their

audience. “They tend to have defined, narrow niches. That
might be geographic or otherwise, but the niche is very
specific. You want to zero in on that. Highlight the benefits to
their audience.”
When approaching a small business, you will typically be

speaking directly to the owner. This can be advantageous,
because the owner has the power to make a decision. It can
also be frustrating. Many small entrepreneurs may need some
education about how you can help their business succeed.
They may even be attempting to do all of their writing work
themselves, with limited results. You need to be able to show
them what you can bring to the table and how it will help them
increase their leads and sales.
Many small business projects will be “one off” projects. You

might, for example, write a few pages of web copy, and then be
done. Small business owners are also good bets for recurring
blog post work as well as social media management work.
If the business has more than fifty employees, you’ll typically

be reaching out to a Marketing Director. There may even
be different marketing directors in an organization if it is a
very large company with multiple products, departments, and
channels. Once you get your “in” with a large business you can
typically count on a lot of good, solid recurring work as long as
you make them happy. They’ll also have plenty of materials for
you to look at, such as marketing personas which will help you
understand their typical customers. Work may run the gamut:
you could be asked to produce anything from web copy to blog
posts, white papers, case studies, sales letters, and more.
Many companies even produce their own magazines. If you

are hoping to write for one of those you’ll need to contact that
magazine’s editor instead of the Marketing Director.
Obviously, if you’re responding to a company’s job ad on

social media or elsewhere then you’ll reply to the contact
person mentioned on the ad, or to the person who posted the

request in the first place.
Agencies and PR Firms

Your experience will differ with these firms depending upon
whether you’re dealing with traditional advertising firms or
digital marketing/SEO firms. The lines are getting
increasingly blurred between the two types of businesses.
In traditional ad agencies and PR firms you’ll typically reach

out to the Creative Director. Often, they want to know
you’ve had some kind of “agency experience,” though not
always. (Don’t worry, as soon as you work for even a single
agency you will have the agency experience they’re looking
for). Traditional ad agencies won’t talk about your portfolio,
either. They’ll talk, instead, about your “book.” The two terms
are interchangeable.
If you want more success with traditional firms you’ll want to

target smaller agencies first. They are less likely to have in-
house writers, or their in-house writing staff will often be too
small to handle the volume of work that they need.

SEO and digital marketing firms are much easier to break

into, and they respond very, very well to cold calling. They’re
also a lot more laid back. You can ask for the Creative
Director. You can also ask for the Content Director or
Director of Marketing in larger firms. In smaller firms, you
can ask for “the person who handles the marketing.”
Sometimes, you’ll even get the owner himself on the
phone…many SEO and digital marketing firms have just one
to three employees who are often far more focused on selling
their services and tinkering with the technical side of the
profession than on handling the content.
SEO and digital marketing firms are extremely hungry for

content. Once these firms tried to get around the need by
paying extremely low rates for extremely terrible keyword-
focused content, but times have changed. The Panda update
has required all of these firms to re-evaluate the types of
content that they buy.
Jean Henshaw works for these types of firms exclusively. “As a

former journalist, it’s interesting to see that what’s old is new
again. Right now, digital marketing firms are extremely
hungry for really good long-form content. And they want
writers who really know their stuff. You know they have a
need before you even pick up the phone to contact them.”
SEO firms are often some of the fastest firms to give out
assignments. They’re also some of the fastest ones to pay. Just
watch their reputations…there are still some very shady
players out there who you don’t want to find yourself work ing
for.
Consumer Magazines
There are literally thousands of consumer magazines out
there, though many of them operate on a state and local level
rather than on a national level. You can find magazines on just
about any topic you can think of.
Magazines tend to pay incredibly well. Many also move at a

snail’s pace. The key to scoring this kind of work is to make
sure the query is incredibly tailored to the magazine’s
readership (see “Doing Your Homework” below).
You will always be contacting an editor, but you’ll usually

have to do a little digging to find the right one. Often, it will

either be a Managing Editor or a Departmental Editor, if

you are focusing on a specific section of the magazine. Note
that if the magazine offers an online version there may be
different editors for the online content.
You will never cold call a magazine, nor would you send a
letter of introduction.
You’ll want to focus on the smaller, more local magazines first.

The biggest magazines want to see a good backlog of clips, and
breaking in is hard for beginners. Smaller magazines also
publish more frequently, which means they need more
content. This creates far more opportunities for you to show
them what you can do.
Trade/Organizational Magazines
If you have some sort of industry connection these can be
some of the easiest magazines to break into. Often, the right
contact person (an Editor, again) is right on the trade
publication’s website.

These publications are highly specialized. For example,

Rombaut writes for The International Travel and Health
Insurance Journal! You can almost always find a trade
magazine for just about any field you’ve ever worked in or
gained experience in.
Studying the publication and adding a few story ideas to your

letter of introduction can be helpful. Sometimes you can cold
call trade publications to see if they need any help. As with
consumer magazines the amount of time it takes a trade
publication to respond may be a bit longer than you’d get from
other types of clients.
Doing Your Homework

One of the most challenging parts of contacting any
publication or organization is figuring out how to research
them enough to customize your pitch without spending all of
your time doing research. After all, if you do too much
research you’ll only end up spinning your wheels. You’ll never
achieve the kind of volume that you need to achieve in order
to fill up your editorial calendar.

You’ll also frustrate yourself. Researching a potential client for

four hours is a non-starter when those individuals may not
even respond.
You need some quick, easy methods for figuring out what that
company or publication needs, and enough about how they
work to impress them with your ability to understand how
they work.
First, let’s talk about researching businesses and other

organizations.
Allen Taylor starts with the company’s website. “I try to figure

out who their web copy is addressing. For example, I do a fair
amount of writing in the financial technology niche. Every
company is different, but if I do real estate crowdfunding I
know the audience is investors, and so that’s the persona.
Every investor might have a different approach and
philosophy, but an investor could be male, female, middle-
aged, young, a millennial, or a baby boomer. I’m not
necessarily narrowing my approach that way, but I am looking
at the difference between someone who is interested in

investing long-term versus more of a speculative investor.

Once I figure it out I can write a very good pitch.”
Taylor also looks at the types of content the company is

putting out, as well as the frequency of their content.
“Sometimes I have to put in a call to the marketing director to
see if I can gather the information by phone and get a feel for
their needs.”
He even advocates reading forums about the company and

doing some Google searches about recent news stories, just to
see if you can gain a little bit more of an understanding of who
they are and what they are doing.
When researching agencies and PR firms it’s not a bad idea to

visit their client page, to see if there is some unifying theme in
the client base that they serve. If you’ve got a lot of experience
either in that industry or in writing for that industry you
might get an “in” you wouldn’t otherwise have. Saying, “I
notice you work with a lot of health care providers and I’ve
been writing for several local area hospitals and doctor’s
offices for over three years,” is certainly a stronger opening to

a letter of introduction than, “I’m a freelancer, I’m available,

and I’m hoping you’ll hire me!”
SEO and digital marketing firms often are far less specialized
(though not always) than their traditional counterparts.
Many times these firms just want to know that you can write
for a wide variety of industries, and what your process might
be for producing good content no matter the subject matter.
When you work with a digital marketing firm you could be
writing about woodshop bits on Monday, root canals on
Tuesday, gutter guards on Wednesday and RFID chips on
Thursday. Being curious about all manner of things and,
moreover, being able to quickly grasp their client’s needs and
business models are more important to them than your ability
to understand their specific agency. SEO firms are very
friendly for those writers who want to play a high-volume
numbers game in their search for gigs.
Rombaut has a method that she uses both for trade magazines
and for consumer magazines.

“I read at least three back issues and try to find a subject they
haven’t really covered. I also look at the writing style. Is it
formal, or is it loose and conversational? I look at the focus of
the publication. For example, there’s a magazine where I live
here in Belgium that covers train lines. They focus almost
exclusively on Paris, even though the magazine is published by
a European train company. I wouldn’t pitch them a story
about a different city. I’d try to make it fit in with Paris. I’m
also looking to see if they’ve done repeats of the topics I’m
thinking of, and to see if I know anything about that subject. I
then kind of brainstorm everything I know about the subject
to see if I can put some sort of interesting angle on it.”
You can get through three back issues of most magazines

within about an hour, and you can usually find them by
visiting your local library, or by writing the publication and
asking for the back issues. Sometimes there is a small charge
to purchase back issues, which is why it can be cost-effective
to focus on the things you know first.

Volume: How Much is Enough?
Now that you know what to do and where to do it you simply

need to ensure you’re reaching out to enough people to fill up
your editorial calendar and bring in the work. But how much
is enough?
In truth, everyone’s answer will be different. Much will

depend on:
 The types of places you are looking for work.

 How effective you are at pitching.
 How much work you get from any one client.
 Your personal speed and effectiveness at getting the
work.
 The number of repeat clients that you get.
When you’re just getting started you can use the following
plan to help you fill up your calendar quickly:

 Try to make twenty-five cold calls a day. That means

you’ll make 125 a week, or 500 in a month. Even if
you’re pretty bad at cold calling you will almost
certainly land anywhere from five to twenty-five
clients by doing this. It’s certainly a lot more
effective than waiting around for work to come to
you!
 Try to send out at least fifteen cold letters a week.
These could be query letters or letters of
introduction. That means you’ll get sixty letters out
in your first month. The odds of landing a client or
two are pretty good.
 Spend an hour or two looking at existing job
openings and sending response letters. You don’t
want to spend all of your time here, but it’s not a
bad place to start. If you like the idea of using social
media as your primary marketing method then you
could spend an hour each day joining groups,
responding on those groups, and following up on
job leads.

As your editorial calendar fills up you may reduce these efforts

because you’ll be spending your time on output. Just make
sure you don’t abandon them altogether. You never know
when clients will leave you, slow down their orders or run out
of work for you to do. You don’t want to find yourself in a
panic or a financial bind when this happens.
The good news is you always have the option to send out more
pitches. The more you send, the more clients you’ll get…it’s
that simple. If you’re having a slow day, week, or month
there’s no need to stare forlornly at your inbox, hoping some
work will magically appear. You can always stay productive by
getting out there and finding more work!
Your efforts will be rewarded if you’re making the effort to

pitch effectively. You can’t just send out hundreds of generic
pitches or make tons of fruitless calls and expect results, but
focusing your efforts and targeting the companies,
organizations, and publications that will be a good fit for you
is a great way to improve your success rate. Sooner or later
you’ll land some fantastic assignments. Nail them, and you’ll
be well on your way toward a robust and lucrative freelance
writing career.
About the Author
Carmen Rane Hudson has been a

freelance writer since 2009. She lives in
Shreveport, LA where she enjoys a host of
geeky things. You can learn more about
her at www.crhwrites.com.
About Freedom With Writing
We connect writers with paid writing opportunities and

publish ebooks, articles, and interviews about professional
writing. Subscribe to our free newsletter at
FreedomWithWriting.com
Further Reading:
The No B.S. Guide to Freelance Writing
The Paid & Published Writer

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The Freelance

Carmen Rane Hudson

Freedom With Writing

Complaints, questions, comments, queries? Email

To share this book, please send people to:

Freedom With Writing

Special Thanks to Allen Taylor, Vanessa Rombaut, and Jean

Freedom With Writing

Freedom With Writing

The Formula .....................................................................................8

Sample Pitch Letters .................................................................... 30

Cold Calling ................................................................................... 34

Where to Do It and Who to Talk To........................................... 49

Volume: How Much is Enough? ................................................. 62

Does the thought of marketing your freelance writing business

If so, this book is for you.

By the time you’re done reading this book you’re going to

Freedom With Writing

(Okay, okay, so that’s a great problem to have.) Follow the

I’ve been a freelance writer since 2009; I’ve written my share

Who This Book is For

Freedom With Writing

The formula is actually very simple.

Mindset + What + Where & Who + Volume = Success!

Next, you have to know what to do in order to make your

You have to think about where your writing work is going to

Freedom With Writing

options to choose from including businesses, agencies, and

Of course, if you don’t reach the right person you will

Finally, you need to connect with enough potential clients to

1. There are no “secret handshakes.”

Let’s tackle them one at a time.

Freedom With Writing

There are no secret handshakes.

Have you ever paused in the act of sending a query letter or

Here’s the secret…there’s no such thing.

Freedom With Writing

You can actually say anything you want in a pitch. Anything.

There are certainly effective ways and ineffective ways to craft

No matter which method of communication you choose, your

 Pique the contact person’s interest.

If you do those three things you could write a poem in iambic

If your contact person isn’t interested, he or she will hang up

Freedom With Writing

Tip: Avoiding strange, rude, desperate or creepy pitches is

It’s perfectly okay to be yourself.

In fact, it’s pretty much preferable, unless you are rude,

Don’t focus on being formal, or on formatting the letter just

Tip: Imagine the contact person as a friend, or as a relatively

Whether or not you are “good enough” to do this should

Freedom With Writing

This is not to say that you should strive to be a crappy writer.

Freedom With Writing

It’s also true that evaluating any given piece of writing is a

So you should spend exactly zero time wondering about

competent. You cannot build a career wondering whether or

You can demonstrate that in just a few short paragraphs when

You might as well put yourself out there…there’s nothing

Tip: You will never figure out if you’re a talented writer,