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The Editor's Nightmare Freelance Project
by Joseph M. Kelly

As editor of a national trade magazine, I use 50 freelancers a year. Most writers are considerate and do a good job. Some don't One writer in particular drove me almost to violence. I don't tell this story to scare off would-be scribes or to paint editors as angry tyrants, but rather to inform writers about what editors despise.

After reviewing the clips and credentials of a so-called expert writer on a specific topic, I dished out the assignment in September 2000. The story wasn't due until April 2001. I gave specific instructions on direction, word length (1,200 words), and made suggestions about contacts. I also requested art or art suggestions.

With new writers, assignments come with a great deal of instruction and specifics. I also request weekly updates on progress so I can thwart wasted time on non-pertinent material. In this case, the rules went out the window early.

The "writer" (I use that term very loosely) failed to return repeated e-mail messages and phone calls over several months. His e-mail address generated bounce-backs and his phone number was no longer in service. It was like he disappeared. Finally, he reached me via e-mail not long before the deadline to tell me the story would be late. The feature was slated to anchor a major section in the magazine, so my level of concern climaxed.

Then, he had the audacity to send me a message after the story had been two months late to inform me that he was "swamped." That's when I lost it. This so-called writer, who had been sitting on this assignment for longer than six months, was telling me at the last possible moment that he was swamped. I felt like hunting him down with my letter opener.

Deadlines for writers are set three months prior to publication, building in a buffer period for changes and rewrites if deemed necessary. That buffer meant nothing in this case. The story was ultimately three months late, stretched to 6,100 words, read like a disorganized compilation of notes--some of which were snaked from my publication's Web site--and no art was included.

Needing the story, my staff and I spent three days rewriting the story, chopping redundancies and tightening. We inserted transitions and converted his notes into a 2,000-plus-word feature. Our creative teams generated art concepts. I felt like eliminating his byline from the story.

This editor's nightmare broke every rule and delivered nothing acceptable. I hesitated about paying him at all. In the end I paid him for the amount of words publisheds. I felt like I should rise above this person's level and just suck it up. I now regret being such a nice guy.

I sent a nasty (but professional) e-mail to let him know it goes against my better judgment to pay him and that he'd never work for me again. He enraged me once again when he sent a letter with his invoice, begging for another chance. He said he had no intention of disapppointing me and said he'd do another assignment for free. Well, sir, I though, if you didn't want to disapppoint me, you would have followed instructions, turned in a feature of the right length and content, and it would have been in my in-box early with art.

I really lost big on that story. I paid a man for typing up some notes, my staff was consumed by fixing a disorganized piece of swill, my blood pressure went up, and a few more gray hairs popped out on my head. Here's how to avoid all that. If you want to cultivate a solid relationship with any editor, follow these simple rules of engagement:

• Be appreciative of the assignment
• Keep in constant contact with the editor about progress
• Ask questions and get clarification if you don't know
• Always suggest art elements
• Meet length requirements
• Cover the content thoroughly
• Write it tight and right
• Turn in your story early (editors love that)
• Follow up with the editor to make sure he/she is pleased
• Pitch another story

Copyright © 2001 Joseph M. Kelly

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