Nicole M. Bouchard - Writer, Editor, Instructor

Nicole M. Bouchard is returning to Writers in Business. She is the Editor-in-Chief of The Write Place At the Write Time an online literary magazine which was featured in our April 17th blog. She is also a prolific freelance writer, editor and creative writing instructor. She comes from a mixed background of both journalism and fiction.
Welcome back Nicole. In doing research for our earlier interview, I was inspired by all you do in the literary world and wanted to learn more.

Your published fiction ranges from literary to historical to fantasy. An excerpt of your short story
“Reaching Out to You” won a recent romantic themed writing contest. "One Untruth" a short fiction story, was published in the national literary magazine, Pen Woman. Where do you find your inspiration?

I believe that a story can come about in a myriad of ways; a phrase overheard, a simple everyday gesture, a notion, a dream or impression tugging at your sleeve in want of a form and voice. A fantasy story entitled, “The City of Amaranth” came from a dream I’d had about a golden palace of “gods” who were actually mortal. The story became an unexpected satire touching not only upon deeper spiritual themes but also certain aspects of the publishing world itself and the “gatekeepers” of it, so to speak. “One Untruth", came from a simple 1950s photograph I discovered when moving old boxes to help a friend clean out their basement. I asked about this image of a couple and their children only to find that my impressions about their life together weren’t far from the truth. The story behind the story can be very interesting.


I've seen old photographs like that and often wondered about the stories behind them. How did you get started in your writing career?

I was quite determined and quite young when I chose to be a writer. It was something I’d always wanted to do, a gift I wanted to give myself. I knew it was a ‘difficult’ field yet if not for my own passion for it, I think the field chose me- it was inevitable that we’d meet along the “road less traveled”. I always imagined that it would be good to start young. I remember writing to a male columnist that I’d always admired asking for a few words of advice. Pleasantly enough, he told me that to break into the field at my age couldn’t be done; it was impossible. It would be better if I started in tiny circles and waited. I understood that it wouldn’t be easy, but something about “impossible, can’t, no” has always been oddly motivational for me.

It was about six months later that my first story pitch was accepted and published. I was nineteen doing entertainment journalism a short time later; one of the profiles was of a Broadway actress who I got to meet in person and take a quick back-stage tour of The Phantom of the Opera set with.

To make a long story short, after building my portfolio and taking a turn as a contributing editor, I turned back to my first love of fiction. When those works started being accepted, I was also taking on additional freelance journalism at the time yet wanted more in the literary world. I set myself to thinking about all that I read and experienced in publishing and what kind of a publication I would most want myself. Notebook pages started filling with sketches of what would become The Write Place At the Write Time. Research, consulting with copyright lawyers, design, submission calls and inquiry letters for the first interviews; all were set in motion. To have an incredible team-mate to co-navigate the publication with me as Assistant Editor, I had only to look at my own mentor and creative writing inspiration who’d taught me for so many years- my mother; and so it began as a mother-daughter endeavor to re-imagine the face of online publishing.

At twenty-two, I became one of the youngest members of the NLAPW (National League of American Pen Women).

My heartfelt advice to emerging writers at any age, at any stage is to surround yourself with a support network. Most importantly, believe in yourself and your love of the craft. I was fortunate to have a family that was encouraging me at every step.

Thank you for sharing such wonderful words of encouragement. Writing is such a creative process, it can be challenging to rate the character or quality of one piece over another. That being said, do you have any preferences within your own writing portfolio?

Each piece has its own significance to the writer - closeness to the characters, affinity for theme, etc… Yet if I had to pick out a few pieces that I love most in terms of the entire process of the story, they would be “Fragile Things”, based loosely on a heart-wrenching advice column I kept in a drawer for years, thinking, ‘My God, what happened there?’, "Thief of Shadows" using a fairy tale archetype to delve into the psychology behind a newspaper headline I’d read and "The Age of Victoria" – a historic, emotive piece based on a few first sentences I had written about 9 years ago in a painting class. I hadn’t known much at all about the locale and time period when I first built the outer frame of the story; when I did the research, the elements I’d chosen, such as the protagonist’s vocation, were fittingly accurate. This is where I feel the divine inspiration comes into play.


Thank you for sharing material from your creative writing course, “Passion, Philosophy and Prose: The Power of the Pen". The information is thought-provoking and insightful. Your comments in the first paragraph caught my attention, “One of the foundations upon which I build my continually improved-upon philosophy about the craft of writing, is that often times, the 'rules' are invitations to do something entirely opposite and therefore, utterly original.” Is your goal of the course to help writers explore the inspiration for creative writing or more to learn the mechanics of it?

The first session of the course was this past winter from Feb 23rd - March 23rd. Students are still in contact and it has been such a wonderful experience to see their responses to the different course materials spread out over four sessions (four weeks). The sensory exercises, visualizations were immensely revealing about what they needed or wanted on a deeper level to do with their writing. Each has a unique talent and they rose to all occasions. It’s enlightening to teach because you fall in love with the subject all over again and learn from the perspective of your students. To know that they’ve gotten value out of the course is above and beyond all of the fun we’d had. It's truly about the creative process as opposed to the mechanics- yet it does have some helpful hints and resources for submitting work.

Are there any books you recommend related to the mechanics of writing?

Yes, I do recommend to writers the book “Formatting and Submitting Your Manuscript” by Cynthia Laufenberg. It is one of the best for queries, outlines, proposals and nearly any format you would ever need. A book that deals with the mechanics and tools of the craft itself, is "The Portable MFA in Creative Writing" by the New York Writer’s Workshop. They are both, I feel, desk-top essentials in a writer’s office.

Nicole, it’s been a pleasure learning more about your writing. I’m looking forward to following your journey. Readers can learn more by visiting The Write Place at the Write Time. Are there any favorite quotes you would like to share?

Writing a book is an adventure. To begin with, it is a toy and an amusement; then it becomes a mistress, and then it becomes a master, and then a tyrant. The last phase is that just as you are about to be reconciled to your servitude, you kill the monster, and fling him out to the public. ~ Winston Churchill

Tom Gillispie - The Master of Simple, Powerful Words

Joining us today from Rural Hall, NC is Tom Gillispie, writer and editor extraordinaire. Tom was a career newspaper writer and copy editor working at eight newspapers over a span of 30-plus years. Today, he is a freelance editor, proofreader and writer. He edits magazine articles, business letters, novels, non-fiction books and more.

Tell us about services you offer.

If you owned a business and wanted a regular company newspaper (print or online), I could take photos, write stories, lay out pages and edit copy. Except for ads, I could do it all. The last time I did that was late 2008.

I have written (and still occasionally write) newspaper, magazine and online articles, but my main thing is editing. I edit fiction and non-fiction books; I edit for writers, businessmen, lawyers or anyone who has written a resume. I have tutored writers, usually via email or chat. I offer academic editing and tutoring, although I will not write academic papers. For all writers, I don’t rewrite your work, unless it’s a mess. I try to let the client’s voice shine through. He/she might not even notice the changes if not for Track Changes in Word.

Who do you usually work with?

For 30 years, I have edited for newspapers, and I still do that one or two days a week on a freelance basis. Otherwise, I’ve edited fiction and non-fiction books, magazine articles, web-site material and even law work. People often ask if I edit their kind of writing. I probably do. Two women were uncertain if I could edit their books on spirituality. Turned out that I could. Another woman feared that I couldn’t edit her novel. I told her to send a chapter and pay me for that chapter when it was done. I worked on that novel and a second one for her. Still another woman had written an ebook on care of hands and toenails, and she seemed thrilled with the editing.

You have stated, “I tighten, focus and improve copy, and I'm good at fact-checking. Everything I edit gets a little shorter, a little tighter, and, usually, a lot better.” Can you give us an example of how you achieve this?

I cut out unnecessary modifiers like certainly and very. Do you need to say that the 7-1, 300-plus-pound Shaquille O’Neal is huge or massive? The numbers say it. Can something be very unique? Can a woman be very pregnant? Sometimes I exchange big words (exacerbate) for smaller ones (weaken, worsen) that are familiar. I look for strong verbs. I untangle long, messy sentences and paragraphs.

I often do this on my blog to show writers and editors what I’m thinking. I recently heard this on TV: There is no such thing as that which is impossible. Sounds very profound (I couldn’t resist), doesn’t it? I’d change that to Nothing is impossible. Simple. Powerful.

I find ways to use the fewest words possible. Shakespeare, for instance, wasn’t famous for being wordy. He made every word count.

You created the Yahoo group, Freelance Writers and Editors. As a member of the group, I’m impressed by the support and encouragement offered by members. There is camaraderie present and a genuine effort to share resources. Please tell us about the group. Why did you start it? What role would you like it to play in the lives of writers and editors? Can anyone join or are there criteria that must be met?

I started the group, I admit, to find work. I wanted it to be useful to writers and editors, but that was my ultimate goal. It’s turned into more than I expected. One of our members tried me hard when the group started. He wanted to see if I’d throw him out of the group. I told him he didn’t need foul language to get his ideas across; I believed he could be a valued and valuable member of the group. And he has. When he had surgery, group members got in touch with the family and followed his progress. And when his wife died, we mourned with him.

Some of us have learned about grammar, computer programs, helpful web sites and such. We’ve shared laughs and picked on each other. I won’t say the group has been family – most of the nearly 500 members never speak up – but I feel close to several people I’ve never met in person.

As for membership, I ask that potential members be a writer or an editor. If they’re selling products or they don’t use the word editor, writer or freelancer, they don’t get in. If they don’t write anything, they don’t get in.

Can you share a personal experience with us on writing vs. editing?

When I first started, I wanted to be a writer, but I had to learn how to lay out newspaper pages. When I was working at a weekly paper, the sports editor of a nearby daily called and offered me a copy-editing job. He told me that any metropolitan daily would hire me as a copy editor, but he added that no newspaper would hire me as a writer. That wasn’t true, but that newspaper tried to convert me to a full-time copy editor.


I was interviewing for another writing job, and I took their test. The sports editor said he would hire me as a copy editor but not as a writer. I told him that he’d never hire me.

I went through that at every job. I was better than most of the writers they had, but they always wanted to make me a copy editor. I knew I was probably a better editor than writer, but, dammit, I wanted to write. And I have. I’ve written for nine papers I worked for. I’ve written on a freelance basis for dozens of newspapers, The Miami Herald, Washington Post and Baltimore Sun included. I’ve written for probably 20 magazines, including The Sporting News and Sports Illustrated, on a freelance basis. And I’ve written three books and several comic-book scripts.

But I’ve come to realize that my talents are all based on copy editing. My copy editor’s “ear” makes me a better writer, and my copy editor’s “eye” makes me a better photographer and page designer.

I’ve come to terms with being a copy editor. It’s what I do best. But I write when I can.


To learn more about how Tom can help your writing reach new heights, please visit his web site. You can see more of his work at his blog and his writing blog. If you are a racing fan, don’t miss Tom’s books on the subject: Racing books.

What Editors Really Want (In A Query Letter) by Usha Krishnan Sliva

What Editors Really Want (In A Query Letter)
from Usha Krishnan Sliva

There are a lot of reasons why a query letter may be rejected, the number one being the topic you've selected has already been published. Editors want great unpublished ideas, which translate into excellent well-written stories. Most rejection letters should not be taken personally, but if you find you're not getting anywhere despite some lightbulb moments, remember, editors hate the following:

1. Typos and errors: Check and double check to see there are no spelling or typing errors. Print out your letter and read it, or better yet get someone else to go through it before you send it out.

2. Poor formatting: Editors go through hundreds of documents on a weekly basis. Receiving one that's poorly typed up is sure to get binned. Ensure you select a standard font size (Ariel or Times Roman, point 12 usually works well) and single space the text. Try to keep it to one page- most editors won't have the time or inclination to read beyond that.

3. Long, windy sentences: Remember KISS? It's an acronym for Keep It Short & Simple. Make your point, give them clear instructions as to who you are and what you can do for them, and conclude your letter.

4. A condescending (or patronizing) attitude: Starting out with testimonials or nuggets of wisdom is never a good idea. Write in a clear and straightforward language.

5. A poorly addressed letter: Begin with a clear salutation addressed to the person who's going to be reading your letter. You can find out who it is by visiting the publication's website, looking at a current masthead, or emailing/calling their office.

6. An offer you can't back up: Don't get carried away and make claims before you can actually do research to back them up. If you are offering to interview someone, get updated statistics, or send in photographs to accompany your story, make sure you'll be able to deliver on your promises.



Freelance writer Usha Krishnan Sliva has years of article and copywriting experience. To get more free tips and writing ideas, sign up for her ezine on Getting It Write!

Chelsea Baxter Editorial Services

Please welcome freelance editor and writer Chelsea Baxter to Writers in Business.

Thanks for having me Brigitte.

Give us a little background as to how and why you started your own editing and writing business.

I used to be an in-house Editor for Glencoe/McGraw-Hill. I started at the bottom and worked my way up after learning a plethora of valuable information about editing and the publishing process. After seeing several coworkers take the plunge into freelancing, I started brainstorming how I'd manage a career outside the confines of a corporate office. I soon realized that most, if not all of my work could be done from home. Plus, I learned that autonomy in my workplace is very important to me. There were priorities I had a home, and a home-based business was the perfect solution.

I didn’t get started immediately. I freelanced while working other jobs for two years before I started my business. After about a year of smaller editing projects, I left my full-time job and took a part-time position so I could focus more energy on building the business. After a year at the part-time job I found several other clients and had enough work to stay at home full time.

What type of services do you offer and how can writers and publishers take advantage of them?

I work with authors and publishers to create the best product possible. My services include copy editing, developmental editing, proofreading, ghost writing, rewriting and much more. I've also done several writing assignments. I edit manuscripts, Web sites, newsletters, magazines and educational products. When I work with publishing companies I'm often on board for the entire process, so I also offer services such as cast offs, book maps, photo research and copy fitting.

I'm still in the process of creating a Web site, so if you'd like to inquire about my services you can e-mail me.

Where can we find samples of your work?
If you’d like to see a sample of a recent editing project, take a look at Bookkeeping Basics for Freelance Writers by none other than Brigitte Thompson. You can check out a sample of my writing in Suspense Magazine. I write a column titled Tales of a Fiction Junkie that discusses fiction from a fan's point of view. I'm always willing to share more samples upon request.

The life of an in-house editor can vary greatly from a freelance editor. What are some of the differences and what tools have helped you combat any disadvantages?

Creating a routine took some time. I discovered that when I didn't set days and times to work, I would procrastinate. So I'd say an important tool is a schedule.

Another “tool” that I highly recommend is colleagues. Since you don't have a staff of editors to collaborate with, I suggest joining editing, publishing and writing groups. I found a couple on Yahoo and I remain in contact with editors from my previous jobs as well. These professionals keep me in touch with the industry and are a great source for feedback.

The other item I have is an entire bookshelf filled with style and grammar guides, dictionaries, thesauruses and any other items I've found helpful over the years.

Lastly, have a list of trusted job sources. I've found that if I apply for jobs before my current project is over it usually works out so that when one project is ending, another one begins. This limits the amount of downtime between projects (and paychecks).

What advice can you suggest to other editors who are looking to start freelancing and possibly their own business?

If possible, get your experience working as an in-house editor first. Seeing the entire publishing process from start to finish was priceless. Plus, some of those colleagues may continue to offer support and professional guidance later in your career. I suggest starting on small freelance projects while you still have the stability of a full-time job. I know it’s not an option for everyone, but it’s a great way to build your clients and resume. It can be exhausting to work all day and then come home to do more of the same, but knowing that it’s for your own business is great motivation to persevere.

I have had the pleasure of working with Chelsea and highly recommend her services. As an editor, Chelsea has a wonderful way of encouraging writers to bring out their best. As a writer, her work is amazing! Chelsea is dedicated to each project she accepts. She is efficient and produces consistently exemplary work. Please contact Chelsea through e-mail with any questions or to find out how she can help with your current or future project.

Chelsea, thank you for sharing your editorial and writing services with us.

Book Reviewer & Editor, Robert Medak

Robert Medak began writing book reviews for Allbooks Review in February of 2006. He has been expanding his services ever since and now offers editing for manuscripts as well as a variety of writing applications including freelance articles and Internet content. Robert is the co-founder of a creative writing workshop and he has facilitated courses for writers at Writers' Village University (WVU).

Through his writing & editing business, Robert’s mission is to offer businesses, individuals, and writers help with their writing needs. He is joining us today at Writers in Business.

In doing research for this interview, I went to visit your web site and blogs. You have a lot of information to offer. Can you tell us a bit about each blog?

I have numerous blogs, some are about freelance writing, about writing in general, book reviews, and about animals and items for children. I also maintain two blogs for AllBook Reviews. I have also started some at other sites but there is not much on them yet.

With your writing & editing business, do you find one of your services is in more demand than another?

Writing is the most in demand at this time, mostly writing articles and book reviews.

Does writing or editing work keep you the busiest?

Writing keeps me the busiest, but I also enjoy editing. Doing editing and writing helps me improve in both areas. I feel that one should always strive to improve in whatever they do.

Do you have a preference for working with fiction or non-fiction? As an avid reader, I enjoy both fiction and non-fiction and all genres.

I’m also interested in your courses for writers. What topics are you teaching? What aspects are covered? Are your courses available online?

I created a course about how to overcome procrastination, the creative writing workshop is a series of writing prompts to help new writers get started, I have facilitated courses on different aspects of writing at the Writers’ Village University. I do not do much there, as my time is spent writing articles online. They are online at WVU. I have also approached my local library to have an ongoing writing workshop for people thinking about writing. I would cover all aspects of writing, publishing, marketing, and promotion.

I understand you have a new book in the works. Please tell us about it.

I have been asked many times about how to break into freelance writing. I decided to write a book about the subject. I also presented a course at the October 2009 Muse Online Writers Conference “So You Want to be a Freelance Writer.”

You can visit Robert at Stormy Writer and at RJM Book Reviews. He is also an expert at Ezine Articles.

Award-winning copywriter, communications specialist and editor, Amy Forstadt

Award-winning copywriter, communications specialist and editor, Amy Forstadt is joining us today from Los Angeles, CA. Amy has worked with Walt Disney, Glencoe/McGraw-Hill, Stonyfield Yogurt, and Intermix Media. She has done work both in business writing (corporate communications and marketing) and the entertainment industry (mostly television).

~In reviewing your resume’ and LinkedIn profile, I’m amazed at how much you have accomplished with your career in such a short period of time. How did you get your first freelance project? What skills were your greatest asset in securing that position?

Like most breakthrough opportunities, I got my first freelancing project through a combination of luck and hard work. It was way back in 1995 and I was working as a receptionist, but I knew I wanted to be a freelance writer. At that time, I was also taking a screenwriting class, and the teacher of the class asked me to work the booth representing his writing services at an upcoming media convention in Chicago.

I agreed to work at the convention, and decided that I would take advantage of the opportunity to market myself. I had business cards made and passed them to everyone who came by, telling them I was a writer for hire (after I gave the schpiel about the class, of course!).

It turned out that another woman working in the booth with me was employed in the communications department of GE Capital Railcar. She told me that she might need a freelancer and we set up an appointment for the following week.

I was looking forward to the appointment, but I wasn’t expecting too much. I knew how it worked – my contact would have to talk to her boss, who would probably have to talk to his boss, and there would be all sorts of approval processes before anyone was hired. Well, when I got to the office, it turned out my new friend was the boss! She had a corner office with a big window and pretty much hired me on the spot. I was at GE for over a year, and my contact became a really good friend and regular client.

I think my greatest asset in getting that position was my willingness to really put myself out there at the convention and market myself to anybody and everybody – kind of like a mid 90s version of an e-mail blast – combined with the confidence I felt that I really could do the job.

~Working as a freelance Communication Specialist since 1995, you must have gained a tremendous amount of experience. Can you share with us a few of the important skills you have honed during this time that have helped you advance as a writer?

Being a successful freelancer is about so much more than just being a good writer (although that’s essential). The most important skill to develop is an ability to just jump in and get to work. People often hire freelancers because they are in a crisis situation – there’s lots of work to be done and their staff is just too busy to do it. So it’s not like being a new employee where you get training and introductions, and no one expects you to learn everything the very first day. When you come on as a freelancer, you’ve got no learning curve. You have to start being productive in the first hour.

As far as writing skills go, it’s important to be very adaptable to the different personalities of your clients, and the various corporate “voices” you’ll need to adopt. As with any sort of writing, you can’t take criticism personally. You need to satisfy the client, and if he/she thinks your project needs another draft or, occasionally, to be started again, you’ve got to be able to listen and make the changes they’ve requested.

At the same time, freelancers are often called in to be experts on a subject. So you may be in a situation where everyone is looking to you for answers, usually on a project you’ve just learned about. It can be a delicate balance that involves both taking suggestions and giving them.

~Can you tell us what is involved in entering the Drama Garage screenwriting contest which you won in 2005? How do you recommend people break into this market? Is it a highly competitive field?

I think screenwriting, or anything in the entertainment business, may be the most competitive field there is. I’d say that if you’re interested in working in entertainment, break in by doing everything you possibly can. Call all your contacts. Enter all the contests. Go to the networking events.

And most importantly, write, write, write. Success in this field can take years, and even after you do break in, there are no guarantees. A lot of people keep their day jobs for quite a while after they’ve had their first success. As someone once said to me, “It’s not a sprint, it’s a marathon.” You’ve got to be in it for the long haul if you want to see results.

~Your educational background (B.A. in English from The University of Iowa, Technical Editing courses at Harvard University and a Copywriting and design course at AdEd in Chicago) is impressive. Is there one course you recommend all writers complete to enhance their marketability as freelancers?

I do think there’s one course every writer should take, and that it’s a different one for each writer. Aspiring freelancers should find a course about what interests them, whether it’s business writing, copywriting, digital content creation, etc and take that. You can usually find classes like these offered at your local community college or even online. And if you’re interested in more than one subject, you should take more than one class.

Not only will taking these classes look good on a resume and give you the confidence to start a project in that area, they will give you a taste about what it’s like to work in that field. I think most writers are naturally curious people, so there should be no shortage of potential writing careers that seem interesting. And you never know, you just may meet someone in one of these classes who will give you a great freelance project!

Amy's writing has been included in several books: Pieces of Me – Voices of WriteGirl, WriteGirl 2004, Honku – A Zen Antidote to Road Rage, Random House 2003, and Bold Ink – Collected Voices of Women and Girls, WriteGirl 2003. You can find Amy on LinkedIn.

Cheryl "Cie" Hosmer

I would like to introduce Cheryl "Cie" Hosmer from Brighton, Michigan. Cheryl is a former journalist who now edits and writes full time from home. She has written for several newspapers in Wisconsin, Michigan and Indiana, for Pandora’s Box Magazine, and has edited six titles to date. Her current projects include ghostwriting, fiction and non-fiction book editing, and working as a developmental editor helping writers define their audience and assess content for flow and clarity. She has recently become a local business writer in Livingston County, MI.

-You have created a solid business foundation for several aspects of the writing profession. How did you get started in this field?

I got my start at our local newspaper, The Greensburg Daily News (Indiana), when I was a junior in high school writing features now and again for nothing. I have been writing all my life and when the paper published "My Prayer" when I was six years old, I got the bug. Also my grandmother was a writer and a mentor.

Professionally, I began writing for the Daily News in 1999 when I saw an ad for an intensive journalism seminar in Wisconsin called Reader inc. Twenty writers from the United States were chosen to attend the three month, intensive, hands-on course. I was one of them and had very mixed feelings about it at the time as it was far from home and three months into the unknown writing and learning from award-winning journalists from all over the world. It was there I met author Marshall Terrill in the class. We've been a team since 2002 when he approached me to do some editing. I jumped at the chance. There was hardly any pay involved, but it was excellent hands-on experience editing a major book.

- What did you learn from those first few projects that can help other writers with managing the business side of their profession?

Be confident enough in your abilities to charge competitive rates. For around five years, I charged almost nothing just to get my name out there. It paid off, but my family wasn't relying on my income to get by. Be a business bulldog. I used to just roll over and be grateful that someone utilized my services. Then I started to become a little bitter about not earning what I knew I was worth. Last year I got my first multi-thousand dollar job and finally felt that I had made it through. I still do work for charities that I believe in. John Annoni's Camp Compass is one close to my heart as are autism and peanut allergy sites.

-Your web site looks great and it shows examples of the work you have accomplished. Other than your web site, what methods are you utilizing to advertise your services?

Actually, I have several sites dedicated to writing and I try to cross-utilize them...kind of like cross-merchandising in the stores. Biographyeditor.com is my main site, along with MarshallTerrill.com. I have recently opened Livingston Editorial Services to secure local work because in this economy you just can't put your eggs into one basket and hope to survive. I network...a lot. Write From Home Moms is my writer's list and the feedback, the experiences conveyed, and the sheer will of survival in this field has kept me going all these years on the list. I've never personally met any of these women, yet I can call many of them my best friends. If I go a while without hearing from them, I get concerned and wonder what's happening with them.

I utilize the Internet and email to get my name out. Marshall Terrill has been a godsend in my professional life. Through him, I have met many authors and some quite famous people and have become friends with a few of them. I also work off guru.com and have gotten many editing jobs and writing jobs through there...including many endorsements for my work. It's fun making some money for what you love to do and I am blessed with being able to stay at home and work from home right now.

-Can you share with us one of your tips for organizing the financial side of your business?

I am still in the learning curve after a decade freelancing. The greatest tip that I can offer for organizing the financial side of my business would be research and keep learning about it. I don't simply leave that part of my business once I have something set up. I keep honing my organization because I am terrible at it. It's a constant battle to keep on top of the finances because my mind is all over the place all the time. It's constant to be sure, writers have to stay on top of it all the time or it tends to swallow you up.
Press Release: Writer Cheryl Hosmer of Brighton, Michigan featured on Writers In Business Blog