Writing 101: Getting Paid

Introduction:

This is a topic that we have wanted to cover for some time, but haven't quite known how to approach because it's actually the culmination of so many educational touchstones we wanted to include. There have been so many debates and controversies over pay rates, indie funding, and "exposure" perks that I didn't know which one to tackle first.

Then I remembered, this is a 101. It's an overview. The basics. While each of these topics could be (and likely will be) revisited with more sources and nuance, today let's just talk about the conversations that are out there, where we stand, and most importantly how to get you paid for writing.

Exposure Vs Exploitation:

A common piece of writing advice that I see online is to not submit your work anywhere that's going to publish it and not pay you. While I understand the sentiment, I also think that new writers sometimes take well-intentioned advice too literally, and we probably shouldn't make large generalizations like that when giving them advice.

It's certainly good to have a critical mind when approaching places that you're considering publishing with. Always, always, always DO YOUR RESEARCH before submitting or signing to any sort of publication. Some people want to scam/exploit writers and even some places that mean well might not be a good fit for your goals.

But.

As a counterpoint, I would like to point out there have been plenty of times where publishing my work without a paycheck has been an asset.

The one exception people always seem to bring up is charity zines/anthologies and let me just put a pin in that for the present. Usually even the loudest advocates of "don't publish for free" will make an exception for charity work, and vetting charity anthologies deserves its own section.

This is more about the idea of being paid in "exposure" for writing.

"Exposure" has become one of those red flag words and I don't even really see presses using it anymore. But the idea remains the same. You don't get paid, but if you're accepted, your work will be put in front of a big, already established audience. Assuming it's a reputable venue, in your genre, here are a couple of real perks that would be worth submitting without the promise of payment:

• Editing If it's a good venue, it's going to have editors. The piece you get edited will always be a reprint following its free publication which means you're unlikely to ever get pro market rates for it BUT some paying venues do have reprint rates and you'll be submitting knowing that a second set of eyes has looked over your work to make it shine.
  

• Experience This one is for my anxiety girlies but do you have any idea how lowstakes free venues can be? I'm not saying you should half-ass it or treat it like its beneath you (editors talk) but if you're afraid of querying, sending a few pieces out for venues with higher acceptance rates can be a great way to practice and build confidence. Since the acceptance rates are not ever 100% you could also get some experience with rejection before heading into a field where you're likely to get rejected a lot. (See our advice on handling rejections.)
  

• Portfolio Building Acceptances can also be great for when you query again. In our cover letter article we talked about how you should list appropriate publications to sell yourself. While I'm not saying you should list every site or zine that's ever published you, it can be a great way to build your first few credits. They're replaceable later on, and having a few can give you the confidence you need to really sell yourself.
  

• Networking Again, this is why it's so important to do your research. A lot of the most reputable sites, zines, and exposure venues will have guest editors, curators, publishers and sometimes even other writers who you can start building connections with.
  

• Exposure

  Not for nothing, exposure can be a really great reason to have work in a venue you respect, even with no financial incentive. If you're regularly reading work from a zine or site that features work you feel is high quality, it doesn't hurt to get some of your own work in that pool.

Notice that a lot of the specific examples I gave use exposure writing as a sort of stepping stone. That was very intentional. If you have been in the industry awhile and you are getting paid acceptances, you are probably not at a stage in your career where you need to be getting paid in exposure. There's nothing inherently scammy about it, but if you are a professional creative you need to learn how to assess your value and priorities.

Charity Writing:

Alright, let's take the pin out of the charity anthology discussion.

I myself am a big advocate for several charities, and as someone who doesn't have a lot of money to donate, I set myself a charity writing quota where I try to contribute to at least two charity anthologies a year. Some of my best pieces are ones I never received compensation for, and I wouldn't change it for the world.

However.

This is a space where I have seen some of the bad actors moving into. I myself have taken part in a handful of charity anthologies that either had something sketchy going on behind the scenes that I didn't know about at the time, or have meant well but been executed very poorly. A press that is already looking to cut costs likely knows it can get away with not paying authors if they say the money is going to a good cause.

Like with the last section, my advice comes down to RESEARCH RESEARCH RESEARCH!

Is the press established? Do you like the work that they do? Are there reputable names editing or already featured? Do you believe in the charity?

If the answer is yes tthe majority of these questions, then it's seldom a bad idea to donate your time for a story. If the answer is no, or the research is murky, do some investigating before blindly submitting.

Indie Vs Pro Rates:

For sake of argument, I will be referring to a pro rate as $.05 per word and up. The exact number is contested, and there are a lot of factors constantly being debated and this is not about that, I just need an example number and the Horror Writer's Association set the number at $.05 per word, so that's what we're going with.

Most indie publications are working on a shoestring budget, and are geared toward inclusivity. This means that most small presses simply cannot afford to meet pro rates. We see this sometimes in the form of lower word counts, flat rates offered for stories, or royalty shares for bigger pojects.

There are some independently run venues that have the capacity to offer pro rates, and my advice to you is to submit to them whenever possible. Otherwise, it's a good idea to keep your financial expectations in line with the market that you're submitting to.

Grace and Common Sense:

I've had several friends (both who have owned presses, and who have just wanted to dip their toes into anthology curating) who have had mid-tier authors complain about the offered rates not being professional standard.

Here's the thing.

If you don't feel like you're being compensated enough for your work, don't do it.

Reject the invitation. Don't submit. Maybe don't comment on it if it's clearly an independent venue that's doing its best.

Indie horror has its roots in deals, and trades and exchanges and just doing the best that we all can.

Much like with no longer needing to be paid in exposure, it is completely valid to reach a point in your writing career where you no longer feel like taking work below a professional rate. Or, if you're trying to qualify for the HWA, who set the pro rate we're using as an example here, you might have to reach a certain quota that can't dip below their pro rate. Maybe there are just more opportunities coming your way and you feel you need to prioritize.

It is always valid to choose not to do work where you don't feel compensated. Just do keep in mind that a part of being in the indie scene means not necessarily having the same assurances and benefits as big publishing. It's about the work first, and the passion, and retaining more creative control.

At the Sinister Scoop we are loud advocates for indie horror, and we love underdog presses--even when they can't afford five cents per word for anthologies.

For-Hire Writing:

Remember what I said about not making sweeping generalizations to new authors? Well forget that, and listen; DO NOT TAKE WORK-FOR-HIRE WRITING JOBS THAT ARE NOT PAYING YOU WELL.

I've done a lot of writing for hire. The best positions paid me in advance and gave me a credit anyway.

The worst ones will try to do neither.

Do not write anything for anyone else for them to make money off of if they are not paying you or not crediting. These seems like such a common sense thing, but I have heard the heart breaking story more than one of someone who is doing it for the experience or for the networking or as an internship.

And it's just not worth it.

For-hire writing is great for when you need a paycheck. But if they're not going to pay you, work on the stuff you feel passionately about.

Conclusion:

To wrap all of this up, there is no one path forward for writers still trying to follow their passions professionally in this absolute hellscape that we live in. Some people might well try to take advantage of you and your talent. Others will try to belittle you for working in a field or using stepping stones that they didn't personally have to take.

Our advice boils down basically to just ... don't let them.

You're learning. You're sharpening your skills. You're getting out there.

We're proud of you. Now go get paid.