Sam Escobar

As freelancers, we often get caught in the low pay cycle: too busy chasing low-pay gigs and working all hours to make ends meet, to have time to market for those high-pay gigs. Here's how to break out of the cycle. https://buff.ly/3VJyp85

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Fun fact: in addition to writing TV & film, I also write commercial director treatments for some of the best in the biz! I love working with innovative filmmakers to help bring their vision to life. From fashion to food brands, it's such a creative and collaborative process. You can check out some of my previous work at the link below! #copywriting #commercialtreatments #alwayswriting #alwayscreating https://lnkd.in/gKAaA_ts

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More editorial layoffs. One publisher after another. I always hate Q4 for this reason ... it happens every year, but this year seems particularly brutal. While writers and editors are having a tough time navigating this situation, I've noticed that even veteran publicists seem unsure of how to proceed. Spoiler: This is NOT the time for business as usual. So I drafted some tips for how to modify your PR activities and educate your clients during this difficult time in my latest FREE Substack: https://lnkd.in/gn8vrZp3 Is there anything else you'd add to this list? #PR #publicrelations

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Here we go! Up to the minute update for AudioFile Magazine as an audiobook narrator: 😊https://lnkd.in/eYADtSHn

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✨ Calling all journalists and writers! ✨ I’m curious to hear from you: What article or feature have you read that was so beautifully written it still resonates with you today? I’m talking about an impactful piece that has left a lasting impression—something that moved you, whether it was the subject, the interviewee, or the writing style. Just one caveat: it can't be something you've written! I'll kick things off! In 2014, the talented Chicago-based journalist Dawn Reiss penned an article that changed the game for me. Her interview with Maya Angelou was so powerful that I felt transported into the room with them. As one of my favorite writers, Maya Angelou's words have always inspired me, and Dawn's ability to capture her essence brought me to tears—it was a masterclass in storytelling, and I felt I got to "know" Ms. Angelou more deeply. When I’m feeling worn or beat down, I often go back to this article for one quote in particular: “So we mustn't run out of steam. Sometimes young women think, ‘Dammnnn, I’ve been doing this nine years, and I don’t think anything has budged.' But keep plugging away. Nothing succeeds like success. Get a little success and then just get a little more.” It serves as a reminder of resilience and the power of words. Now, I want to hear from you! Share your standout pieces in the comments. Let’s celebrate the art of writing and the incredible work that inspires us all! https://lnkd.in/e4Ax3QfE #Journalism #WritingCommunity #Storytelling #Inspiration #Writers #MayaAngelou #Writing

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I learned a terrifying publishing term today: BURN FEE. It’s the fee the printer charges to destroy books that are returned to them. Sounds awful, right? It is. Because if you’re an indie author, burn fees can mean bankruptcy. And worse. Here’s how the nightmare plays out: Let’s say a bookstore orders 1000 copies of THE BLOODWOOD SOCIETY. Let’s say each book costs $10 to print/ship. After the printer takes their cut, I’m paid $1 per book. Which means I’ve made $1000 on the order. Amazing, right?? Here’s the problem—the bookstore has 60 months (5 years!!) to return those books to the printer for a full refund. But, in the case of a refund, the printer isn’t going to take the financial hit. That’s on me. If 1000 books get returned, I’m on the hook for $10,000—the original cost of printing and distributing the books. Even if it’s 5 years after the sale. But that’s not all. I then have a decision to make. Do I pay EVEN MORE to have the books shipped to me? Or do I pay a burn fee and have my own books destroyed? Talk about a lose/lose. If I list my books as “non-returnable”, bookstores won’t stock them. But if I list my books as “returnable,” I might end up paying to literally set fire to my life’s work. Burn fees are why the vast majority of indie authors aren’t in bookstores. They simply cannot afford to take the risk. I would love for someone to disrupt the print industry and find a better way! For now, if you want to support an indie author, my debut novel is available here: https://lnkd.in/gkgKythS

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These are good guidelines, David Akin! In my experience, the greatest murkiness comes from the difference between "background/not-for-attribution" and "deep background." I generally try push something that is offered on "background/not-for-attribution" into either "on the record" or, if unsuccessful, "deep background" (that I then go find an alternate source for, be it a human or a document). Why? Communications staffers (especially in politics and government) have a tendency to offer an on-the-record written statement and then below that offer information "on background" (without negotiating that ahead of time, which is a whole other thing.) It is rarely clear whether they mean "not-for-attribution" or "deep background." And journalists let it go too often, too. In the best-case scenario, that additional information is context or facts easily confirmed elsewhere (in which case it can be treated as deep background to inform reporting.) In the worst-case (and too frequent) scenario, that material is an argument, an opinion or some other information meant to mitigate the concerns raised from reporting. And that makes it pretty useless to a journalist. 1. If you want to make an argument in your defence, put your name on it. Journalists are not here to do that for you. 2. A single person cannot be both a named source and an unnamed source in a story. It misleads our readers, which is a violation of their trust. A solution for both journalists and spokespeople: Always spell out what you mean and make sure you both agree on the definition and the terms before proceeding with anything other than fully on the record. #journalism #media

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Did you know you can set word target 🎯 for each scene in your novel with Scrivener? Find out how in my next Free Scrivener Training — https://lnkd.in/gwzF7iYt

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#Writers know to avoid cliches, but some of the most unproductive #writing crutches fall shy of being outright cliches. I call them writing devices, and the only thing they add to a story is bloat. These are phrases commonly leaned on to start a story or make a transition, but which say nothing. Here's a common one: When it comes to… In this week's Writer's Guide, I note several different types of writing devices, with examples of each, to eradicate from your stories—plus a simple strategy to help you avoid countless others too numerous to list. https://lnkd.in/g2KXpFA4

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Amid all the "media is dying" talk, it's nice to remember that some corners of the media universe are actually thriving. A new story by Nicole Gull McElroy explores the world of indie mags, which is experiencing a renaissance. She spoke to the publishers of Mountain Gazette, The Surfer's Journal, and SAVEUR, who are building healthy publishing companies rooted in community. The recipe for what works isn't shocking, but it is antithetical to the high-volume game many publishers have to play to survive. Some interesting takeaways: *These magazines work because of how niche they are. They create expertise and community around a topic, which people are happy to pay for. “One of our taglines is that this magazine is not for everyone,” says Mike Rogge, editor and owner of Mountain Gazette. *They turn magazines into a luxury experience with high-quality print and design. Nothing about them feels like a commodity you can find elsewhere. *They have a different relationship to advertising. Both Surfer's Journal and Mountain Gazette pursue partnerships with brands that have close ties to the communities that read their magazines. For Mountain Gazette, advertising makes up less than 10% of its revenue (it has a subscriber retention rate of 99% according to its owner). You can read the full story here: https://lnkd.in/eryYatSn

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What are the three most common fears about working with an editor—and what can you do about them? My article on Jane Friedman's blog shares concrete tips: https://lnkd.in/eYBKw5cK Have you felt any of these common fears yourself? What helped? Editors, how do *you* help clients move forward despite these (or other) fears? Article cameos by Hillary Weiss Presswood, Kendra Olson, Jennifer Lawler, and Claire Cronshaw. ~~~ Hi, I'm Hannah, nonfiction book coach, writing catalyst, and editor. Want to write a compelling nonfiction book you’re wildly proud of—without grinding yourself to a pulp along the way? I can help. DM me for the first tiny step.

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Freelance friends! I have an assignment for you today, but it'll take you less than 15 minutes and it just might get you paid: *Open up your inbox and send a follow-up email to an editor who is overdue on paying you.* Think of it this way: By not (tactfully and kindly, but assertively) requesting an overdue payment, you’re essentially giving that publication — or, more accurately, that publication’s corporate overlords — an interest-free loan for the amount you’re owed. Nope, no thank you, hard pass. Here are some tips on how to go about it:

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A useful resource for aspiring writers - this is a great blog - I’d recommend signing up for their e mails as there’s always something useful. Learning never ends 😊 #TBWRWritingTips

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So what can #artsmarketers learn from this? Does the adage “even bad press is good press” work anymore? There is almost just as much #impact with this as with any other news announcements. However, doesn’t this negatively impact their #brandloyalty even with their usual #targetaudience who is the majority of the #creativearts sector?

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Okay, writers.... Let's talk about the elephant in the room. I know you couldn't avoid the headlines this week: "Unknown, Unrepped Writer Sells Spec for $3M." The spec market is indeed hot right now (I sold two and optioned two more in the last three months), but do not fall victim to the illusion that this shocking sale is the norm (or ever will be). You've probably already asked yourself and your industry peers, "How can an unknown, unrepped writer get his/her script into a company with a big enough budget to pay said writer $3M?!" I dug up the details on this extremely rare scenario: 1) The writer wrote a solid script about a highly topical, buzz-worthy subject in which he was an expert. 2) The writer happened to know two people at a top management firm who could get his script into the right hands, powerful hands. A bidding war soon followed. 3) The writer fell into extraordinary timing and a perfectly matched buyer need. So, to summarize it all: The writer got very lucky. Period. Right script, right place, right time. You never know if and when it will happen, but it could. So, always be ready for anything. And never stop networking.

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