Fifteen Years as a Freelancer

I realize (belatedly) that my fifteenth anniversary of being my own boss has just gone by.

May 29, 1990. That’s the day I left my last “real job” and began my life as a freelancer.

The job was at Automatic Data Processing (ADP) and I worked in the Corporate Headquarters in Roseland, NJ. I was a senior financial analyst, moved into that position after doing my required 2-year sentence as an internal auditor. I hated being an auditor, despite the fact that I was very good at it. No one likes a job where people are constantly trying to avoid you. Hell, men used to run into the men’s room when they saw me coming, just because they knew I couldn’t follow them there.

I’d been doing the 9 to 5 (well, actually 8 to 4 whenever possible) thing since graduating from college in May 1982. The ADP position was a good one, with benefits, a good paycheck, and a clear upward path in the corporate hierarchy. If I stayed and continued to play the corporate game — pretending, of course, that it wasn’t a game and that I liked it — I’d probably be some kind of vice president by now. I’ve seen the annual report — I still have 282 shares of ADP stock from the employee stock purchase program — and have recognized one or two co-workers in those coveted top-floor office positions.

But that’s not what I wanted. Heck, I didn’t want the corporate thing at all. I never did. I wanted to be a writer since I was a kid. My family pushed me into a career I showed some interest in, just because it would come with a big paycheck. Accounting was (and still is) something I enjoyed, but I wound up as an auditor and got burned out before I could escape. By the time I’d finally achieved the financial analyst position and spent my days crunching numbers with Lotus 1-2-3, I was sick of the whole 9 to 5 joke and tired of playing the games I was expected to play to move up. I wanted out.

My ticket to leave came in the form of a contract to write a 4-1/2 day course for the Institute of Internal Auditors (IIA). Ironic, isn’t it, that auditing got me into the corporate world and auditing got me out. There was a $10,000 paycheck attached to the contract, enough to keep me for a few months. I asked for a leave of absence, was told I couldn’t have it, and resigned. No hard feelings, just get me out of this place.

My mother freaked. How could I give up my career to be a writer? Watch me.

To help make ends meet, I got a job as a per diem computer applications instructor with a New Jersey-based computer company. The rate was $250 per day — not too shabby — and, at times, I would work as many as four days in a week. I averaged about 10 days a month and that really helped to pay the bills. They called me when they needed me, preferring their full-time employees because they were cheaper. They tried about four times to make me an employee and I kept turning them down.

I finished the course, wrote another one based on it, and got another job as an assistant trainer for a Macintosh troubleshooting course. That one had a nicer paycheck — $700 a day for two-day courses — and I got to travel all over the country. One year, in June, I did six courses in six different cities. I remember riding in the Club car of an Amtrack train on my birthday, admiring a rainbow as we approached the Delaware River from Washington, DC to Newark, NJ. Although I was allowed to fly to Washington, I preferred the train and took it whenever I could. It’s far more relaxing and comfortable.

Somewhere along the line, I started to write. First some articles for little or no money. Then a few chapters of a book as a ghostwriter. Then half a book as a coauthor. Then a whole book at an author. That first book with just my name on the cover came out in 1992 and I haven’t looked back since.

I did some FileMaker Pro consulting work for a while, too. I built a custom solution for Union Carbide. Not a big deal, but they needed me to update it each year and didn’t balk at $85/hour, so who am I to complain? I also did consulting work for Letraset at the same nice hourly rate. That was good because they were only 15 minutes from my house.

The trick to freelancing successfully is to not put all your eggs in one basket. I never — not once in 15 years — had only one source of income. I’d be training for two companies and writing articles. Or training for one company and writing books and articles. Or consulting and training. You get the idea. There was always more than one client, more than one editor, and more than one project in the works. Before I finished one book, I was negotiating a contract for the next. I remember one day not long after coming to Wickenburg when I signed four book contracts. Four, in one day. That was guaranteed income of $32K within the next six to eight months. And that didn’t count the other income producing tasks I was doing.

For some people, it’s difficult to stop getting a regular paycheck. I don’t recall it ever being difficult for me. I do remember the second year after leaving ADP having a dismal year and only making $19,500. That was a far cry from the $45K/year I pulled in that last year at ADP. But things improved quickly, I got out of that slump, and have since brought in considerably more every year. I’ve been pulling in six digits for the past seven years, a fact I’m rather proud of. I’m certain that I’m earning more now as a freelancer than I would have earned if I’d stayed at ADP to climb that corporate ladder. And I don’t have to wear a business suit or pantyhose to do it.

But no matter how you slice it, it’s not as smooth and easy as a weekly or biweekly paycheck. Advances come four to eight weeks after they’re due, royalties normally come quarterly, consulting clients pay a month after you bill them, magazines pay when they get around to it. You learn to earn first and collect later. You learn to avoid clients who don’t pay promptly, no matter how hard you need the work. If you’re good, you’ll find someone else who will pay on time.

The freelance life is not the easy life. Not only are you constantly on the prowl for paying assignments, but when you get them, you’re working your butt off to get them done on time in a way that’s satisfactory to the client. Anyone who thinks they can succeed as a technical writer — which is what I guess I am — without meeting deadlines and keeping editors happy is sadly mistaken. There are hundreds, if not thousands, of people out there who want the same job and all it takes is one who can do it a little better to get his foot in your editor’s door. I succeeded as a technical writer because I gave my editors what they wanted quicker than anyone else could, with a format and writing style that required very little editing or modification. My editors love me and, when they treat me with the respect I think I’ve earned, I love them right back.

By comparison, the cushy corporate job is the lazy way to earn a living. Show up, do what they tell you, collect a paycheck. No looking for work, selling yourself, and collecting.

Don’t get me wrong — being a freelancer gives me benefits that far outweigh those I’d have in a corporate job. No one is counting my days off. They’re not watching a clock, noting when I arrive late or leave early. I typically take one to two weeks off between books — if not more — just to clear my head. During that time, I goof off, fly, write blog entries, or go on road trips. Or all of the above.

But when I’m working on a project, I’m working long days, working hard in my solitary office. There’s no chat at the water cooler, no long lunches with friends, no personal telephone calls. Just work. I start at 6:30 AM and quit after 4:00 PM. Every weekday and more than a few weekends.

It’s a trade-off, but I don’t mind. I love it and couldn’t think of any other way to earn a living.

Last summer, I had the first real job I’d had since 1990. I was a pilot on a 7 on/7 off schedule at the Grand Canyon. I had to be at work at 6:55 AM and I worked until about 6:30 PM. Seven days in a row, with seven days off after that. It didn’t matter how busy we were or how much I was needed. I had to come to work and be there, all day long, even if there wasn’t a damn thing for me to do. Sometimes it drove me batty. I’d much rather sit in a cockpit and fly all day long than sit in a chair in front of a television. Some people liked being paid to sit around and wait. I didn’t. I hated it. But what bothered me the most was having to come to work on a schedule, even if I wasn’t needed. Such a waste of time. I don’t do that as a freelancer. I go to work when there’s work to do. When there isn’t, I don’t.

I suspect that I’ll never be able to work at a “real job” again.

But hell, I’m a freelancer. Who needs a real job?

AirPort Express with AirTunes

I buy yet another gadget for my Macs.

I’d just finished writing the Networking chapter of my Mac OS X 10.4 Tiger: Visual QuickStart Guide when my editor, Cliff, called me into an iChat chat. Cliff and I often use iChat during the day to ask each other quick questions.

“Why didn’t you include AirPort Express in the book?” he wanted to know.

“I don’t have one of those,” I told him. Or at least I typed at his icon, which was a orange globe that day. “I can’t be expected to buy every piece of Apple hardware,” I added.

This was true. Every year, I invested hundreds, if not thousands, of dollars buying the Apple hardware I needed to write my Mac OS X book. A new desktop Mac every two years. A new laptop every three years. AirPort base stations and cards. iPods. Digital cameras, scanners, color printers. The list went on and on. It was very costly and I had a huge collection of old hardware that I just didn’t have time to put on eBay. Apple might help legitimate authors out with software, but it seldom coughed up hardware for the cause.

“But we should mention it,” he insisted.

“Do people buy it?”

“I’m sure they do.”

I switched over to Safari and surfed on over to the Apple store where I read a description of AirPort Express. Among other things, it enabled you to send iTunes data from an AirPort-equiped Mac to compatible stereo speakers. I thought about Mike and his desire to buy a new receiver. I looked at the price. Oh hell. What was another $129?

So I bought one.

It’s actually a pretty cool little device. It plugs into a wall socket and has three ports: USB, Ethernet, and Audio Out. You plug the Ethernet into a Mac, cable modem or DSL connection, or hub. (Mine isn’t plugged into anything.) You plug the USB into a printer, so the printer is accessible to users on the network. (Mine isn’t plugged into anything.) And you plug the audio out into a pair of stereo speakers or, in our case, a stereo receiver with speakers attached.

Then you configure the whole thing with the AirPort Setup Assistant. You have two options: configure it just so it sends iTunes to the speakers or configure it so it extends an existing AirPort network. I chose the second option. I mean, why not? And the iTunes to stereo thing still works.

It’s kind of cool to control the stereo upstairs with my PowerBook in the kitchen.

I’m impressed. I added a tiny bit of info to the book about it. But I’m also going to write an article about it for InformIt.com. That’s how I pay for this stuff, after all.

Feedback? No Thanks!

I remove the Feedback links.

I just deleted the Feedback links from this blog. Why? Because someone used it to try to sell me something.

Sheesh.

Get this. This guy writes me an e-mail message commenting on my articles about Wickenburg. Some of them are pretty good, he says. (Gee, thanks.) Then he comments about the only piece of fiction I wrote that appears on my Web site, telling me that it “needs work” and suggests adding a serial killer. (I can’t make this shit up.) Finally, he gets around to his real purpose for clicking that Feedback link: to suggest that I read a book that I suspect he wrote and self-published. Except he doesn’t call it a book. He calls it a “story.” And he provides a link to a Web page about the book.

I read the message four times, trying to figure out if I knew this guy. After all, he wrote to me as if we’d already met. And insulting a stranger’s writing isn’t a good way to score points with them, so he must have already known me. Right? So I wrote back, telling him I was trying to figure out why he was trying to sell me a book. I also asked if I knew him, apologizing, in advance, if we’d met and I’d forgotten him. (I forget people all the time.) That’s when he got kind of huffy and apologized for taking up my time.

End of story.

I deleted the message. And I deleted the Feedback links. I’ll also be deleting my e-mail address from my Web site when I get back to my office on Monday morning.

But I can’t help wondering how many other people he contacted, out of the blue, to try to sell his book to.

Some people really do need to get a life.

Eats, Shoots & Leaves…

…and other ranting book reviews revisited.

Just want to say a few quick things that came to mind yesterday evening in the shower, after I’d written too much about all the books I’ve been reading. (I’m referring, of course, to the entry titled “Writer’s Block Still Sucks” in the “Writing – For Pleasure” category.)

First of all, Eats, Shoots & Leaves did indeed make me laugh out loud. Really. More than once, too. But I read a review on Amazon.com where the reviewer absolutely hated the author’s sense of humor.

As for Bird by Bird, I really did get pretty sick of the paranoia and hypochondria jokes the author kept spitting out. It really turned me off to the book. (That and the fact that I didn’t learn anything from it other than the benefit of carrying around a few index cards and a pen everywhere I go.) Yet some of the reviewers on Amazon.com thought the author was outrageously funny.

As for State of Fear, the bestselling author in question really did leave quite a few loose ends in his book. Very untidy.

I have a theory about my reactions to these books. I think my problem is that I read too fast. For example, I can get through a novel in a matter of hours. As a result, the book is still very fresh in my mind throughout the reading process. So when an author makes the same kind of stupid jokes over and over, they really can get on my nerves. And when an author forgets to tie up lose ends, I still remember the end from when it was originally loosened. Someone who reads slower might forget some of these things, or maybe even not notice them.

Of course, I could just be a picky, opinionated bitch, looking for an excuse to make is sound as if I’m not so picky, opinionated, or bitchy.

Whatever.

More About Writing Software

I can’t believe people can use this kind of stuff.

While on the topic of software for writers (see “Software Isn’t Always the Answer“), a long time ago, I was given a copy of Dramatica Pro, “The Ultimate Writing Partner.” I think I was supposed to try it out and say nice things about it in a column somewhere. But since I couldn’t come up with anything nice to say about it, I didn’t say anything. That was nearly 10 years ago. I don’t mind breaking my silence now.

Dramatica Pro is software designed to help you write. Oddly enough, it comes with three manuals, one of which is a whopping 400 pages long, to explain the software and the writing theory on which it is based. (To be fair, one of them is a book of perforated worksheets, which seems a bit silly to me, since you’re supposed to be doing all your character development, plotting, etc. with the software.) It also comes with a fold-out Table of Story Elements, which presents the database fields and options you fill in while working in the software. For example, in the Universe class, Past and Progress are two types; in the Progress type, Fact, Security, Threat, and Fantasy are variations; in the Security variation, Effect, Result, Process, and Cause are elements. Confused yet? I was (and still am). No wonder there’s a 400-page book to explain this stuff.

I never got any farther than installing the software. I know because I have no recollection of using it beyond a quick peek at its interface. And it isn’t as if I didn’t try. I just pulled the software out of my closet to refresh my memory (before filing it permanently in the circular file) and I found a plane ticket receipt in it. I obviously took this heavy box all the way to Kansas City with me on a business trip back in 1997. Kansas City isn’t exactly a hot spot. I’m sure I had plenty of time to play around with the software after work in my hotel room. Yet I know for a fact that I didn’t use it.

Why do you think that is? Probably because I don’t believe that I need software to help me think. And I don’t think writing should be so complex that you need a piece of software supported by 400+ pages of theory to get the job done. 400+ pages with subheadings like “The Obstacle Character Throughline” — oddly enough, my spelling checker doesn’t recognize the word throughline any better than I do — and “Psychology as Obstacle Character Domain.” Hey people using this software are writing a novel or short story, not a doctoral thesis. Whatever happened to developing characters, formulating plot, and writing? Do you know how much time it must take to use software like this to plan out a novel? Especially after deciphering the theory manual and learning how to use the software? And what struggling writer has $250+ to plunk down on a piece of software that can’t even be used as a word processor?

Does it surprise you that the folks at Writer’s Digest rated this software as “excellent”? (I have my own theories about Writer’s Digest, but it wouldn’t do anyone any good to present them here.)

Guess what? I just did a Google search and found that they’re still making Dramatica Pro. And guess what’s on the home page of the Dramatica Web site? “February Tip: Separating the Story Throughlines.” (I’m starting to get curious about just what a throughline is.)

What’s my point? Damned if I know.

Oh yes. It’s this: all of the classics of literature and fiction were written without the assistance of a piece of writing software based on a complex writing theory. If those authors didn’t need software help, does anyone?

Heck, we have word processors. They had typewriters. Or pens and pencils. Or — dare I say it? — fountain pens. Isn’t that enough of a technological edge for you?

It certainly is for me.