Thousands of geniuses live and die undiscovered - either by themselves or by others.

Monday, June 20, 2011

Freelancers: What to charge?


When someone hires you to do a special writing job, they give you the assignment and you do the job. Sounds pretty simple, right? Well, not really.
These are examples of complaints I've received over the years:
A local drycleaner thought he could write his own brochure, but he just "didn't have the time." He hired Melanie, a professional copywriter, to write it for him for a flat fee, and gave her a list of bullet points to include. After the job was complete, he decided he wanted to add a few more bullet points and remove some he'd provided previously...but he didn't understand why Melanie asked for more money.
The marketing manager of an old business downtown hired Jeff to ghostwrite a historical book about the company. The book would be offered to local bookstores and be used to generate publicity, of course, but the main purpose of the project was to provide a marketing freebie to potential clients. The marketing manager sent Jeff a very detailed outline of the project along with a list of interviewees. A few weeks later, after more executives at the firm got excited about the project, they all started getting ideas. Some items Jeff had already written were deleted and the list of interviewees suddenly got much longer. When Jeff asked for a contract amendment and more money, the marketing manager told him there were no more funds in the budget and that the original flat fee was the only money available for the project. He even threatened to sue Jeff if he refused to finish the book, saying there was nothing in the contract that allowed Jeff to quit the project.
Linda was hired to write a series of press releases by the co-owner of a company. After completing the third press release, the company's other owner decided he didn't like the way the series was progressing. He wanted the first three press releases changed. Linda asked for additional payment to make the changes because the scope of the project had changed so drastically. The company balked at her request, fired her, hired another writer to finish the series, and never paid Linda's invoices.
Scott was hired to ghostwrite a novel for an individual. He completed the work and sent the manuscript and his invoice to his client. The client phoned a few weeks later to say she now wanted the book written in first-person. When Scott requested more money, she told him he should have thought about this possibility before he agreed to the contracted price.
I receive emails almost daily from writers asking me what they should charge for special projects like these. My answer is always the same - charge them BY THE HOUR!
Most people who have an idea for a new project only have a very rough idea of what they want, and they almost always change their minds about some or all of the project along the way. Unfortunately, when this happens, especially when writing is involved, many people don't think the writer deserves any more money to incorporate the changes. Why? Perhaps they think "it won't take very long." Or, maybe they think you "just have to move a few sentences around." They don't want their budget disturbed and almost always want to blame the writer if something doesn't turn out as they'd hoped it would.
A sad fact of being in our industry, and probably the main reason why some people think writers don't deserve payment for their work, is because most people think that, just because they can type or hold a pen, they can write. Thus, they think writers' jobs are easy. One certainty about our industry is that books, brochures, websites, and even most articles are NEVER published as first written. The boss almost always wants some changes, often because they've changed their mind about the scope of the project.
The way to avoid getting into this mess in the first place is to:
  1. Get the entire preliminary scope of the project in writing. Be sure to list as many details as possible. If the project description seems too broad, ask lots of questions and include the additional information they provide in your proposal and the contract itself. This will be your best weapon later when they don't want to pay you for additional work.
  2. Estimate the total number of hours you believe will be required. Stress in bold that this is a rough estimate, based on the scope of work initially provided to you for this project.
  3. Quote an hourly rate. If the client wants to see a round number, multiply the hourly rate by the projected number of hours. But, remember to stress that the figure is a rough estimate based on the information initially provided by the client and again state you'll be billing them by the hour.
  4. Include a clause in your proposal and in the contract that any change requests may require additional time and will therefore increase the cost of the project.
  5. Make your payment terms no longer than net 14 days.
  6. Include a clause in the contract specifying that prepayment is required for delivery of the final installment of the project. Withhold delivery of the final 15% of the project until your final invoice is paid.
  7. VERY IMPORTANT! Include a clause in the contract specifying that you own all copyrights to the work until all your invoices are paid.
  8. Submit the project in increments (every 25 or 50 pages, or every other week, or every 20 hours of work). Send them an invoice each time you submit a piece of the project and stop work immediately if even one invoice is past due. Don't continue working until they've paid what is currently owed. (You'd be surprised how many writers keep working after their client stops paying their invoices!)
  9. Never turn in the last part of the project without having your final payment in hand. (You'd be surprised how many writers never get that final check!)
  10. If the information above doesn't appear on the contract, ask them to include it as an addendum to the contract and make sure you and the "boss" sign it. Don't start work until you have a signed copy of the contract in hand. (You'd be surprised how many companies never return signed contracts and then never pay the writers, saying the contract was never signed!)
  11. When change requests come through, save all emails and letters and document all changes in detail. If the changes come via a phone call, make a list of the changes requested, send the list to the "boss" and request he sign the list and return it to you. (You'd be surprised how many clients ask for more work but then later, after their budget is blown, claim they never asked for more work!)

When two companies sign a contract, both firms usually know how to correctly handle the situation (get signed copies of the contract, include a copy of the proposal, addendums, penalty clauses, etc.). Unfortunately, when companies are dealing with freelancers, they often don't follow standard procedure and then use the freelancer's ignorance about business processes to screw them later. After reading hundreds of emails sent in by readers over the years, it's obvious, when a project goes awry, the company's attitude toward the freelancer is often, "Well, you should have known this could happen, and included it in your price!"
When the boss changes their mind about a project, it's not your fault! When those changes mean more time on the job for you, you deserve more money! Protect yourself in writing up front and remain firm and professional when they try to talk you out of charging extra for THEIR mistakes.



Angela Hoy is the co-owner of WritersWeekly.com and Booklocker. WritersWeekly.com is the free marketing emag for writers that features new paying markets and freelance job listings every Wednesday. Booklocker.com, is rated the top POD Publisher by attorney Mark Levine. Mark's book,The Fine Print, analyzes the contracts and services of 73 top POD and ebook publishers. Read morehere. Booklocker.com can publish your paperback or hardcover book in 4-6 weeks for only $217.

Wednesday, June 15, 2011

Leisure by W. H. Davies

A beautiful poem by W. H. Davies. Though written long back it reflects the current so-busy scenario. He must have foreseen the complex lifestyle of the generation to come. Mere reading of this poem takes you to the much desired tranquility and peace. Read and Enjoy---


What is this life if, full of care,
We have no time to stand and stare?

No time to stand beneath the boughs,
And stare as long as sheep and cows:

No time to see, when woods we pass,
Where squirrels hide their nuts in grass:

No time to see, in broad daylight,
Streams full of stars, like skies at night:

No time to turn at Beauty's glance,
And watch her feet, how they can dance:

No time to wait till her mouth can
Enrich that smile her eyes began?

A poor life this if, full of care,
We have no time to stand and stare.

Monday, May 30, 2011

Hyperpoetry: A Lesser Known Genre


The Hyperpoems open the door to multi-theme asynchronous moving poetry, as a new way of reading words which are constantly rearranging themselves. The scrolling lines start all together, but since the lines have different lengths, they get out of sync quickly. Since the motion is slow, you can read parts of different lines at will, moving over the range of the poem in a new and surprising mode. Try to read snatches of lines as your eye moves up and down while the words move right to left. Stay with the poem a while, reading and remembering phrases and how they fit together, for an entirely different poetic experience.

Poetry as the vibrant expression of a recombinant language and culture find a niche in hypertext. New meanings can be discovered, followed, created and recreated anew. Hyper poetry can be made up of images, text and flash animation, but above all, hyperlinks. The idea is that everything contributes to the poetic (if you use Landow’s definition, surprising and delightful) nature of the work, so your hyperlinks have to add some sort of meaning to what the reader (or more accurately, user) can see. Although one can see the benefit of studying this - there is a lot of academic writing about hypertext in narrative, what this means for literature and students and academia etc because it doesn’t really interest all, I am not keen to go down that path. Poetry has too long been relegated to the academy. As such, it alienates its audience and makes it difficult for poets to inject their work into the world. Poets deserve a place for their work to live and be seen. Much more importantly, though, the world deserves to see the work of new poets unfiltered—without having to look through the lens of gatekeepers. It is an effort to take poetry back. It is a shift in thinking. It is a public space where real people can interact with real poems. It is a revolution. 


Wednesday, May 25, 2011

Poems of Kamala Das (My Favourites-2)

This collection (and also the previous one) aims to provide the accessibility to poems of Kamala Das to the readers, scholars and others who are interested in the same.






The Suicide

Bereft of soul
My body shall be bare.
Bereft of body
My soul shall be bare.
Which would you rather have
O kind sea?
Which is the more dead
Of the two?
I throw the bodies out,
I cannot stand their smell.
Only the souls may enter
The vortex of sea.
Only the souls know how to sing
At the vortex of the sea.
Your body shall be dead,
Poor thing,
Dead as driftwood, drifting
And drifting to the shore.
Your body shall ride the tide,
Rider, slumped dead
On white war-house.
Charging.
Your body shall bruise white
Against the coral reefs,
Your body,
Your lonely body.
I tell you, sea,
I have enough courage to die,
But not enough.
Not enough to disobey him
Who said: Do not die
And hurt me that certain way.
How easy your duties are.
How simple.
Only roar a hungry roar,
Leao forward,
And retreat.
You swing and you swing,
O sea, you play a child’s game.

But,
I must pose.
I must pretend,
I must act the role
Of happy woman,
Happy wife.
I must keep the right distance
Between me and the low.
And I must keep the right distance
Between me and the high.
O sea, i am fed up
I want to be simple
I want to be loved
And
If love is not to be had,
I want to be dead, just dead
While I enter deeper,
With joy I discover
The sea’s hostile cold
Is after all skin-deep.
The sea’s inner chambers
Are all very warm.
There must be a sun slumbering
At the vortex of the sea.
O sea, i am happy swimming
Happy, happy, happy ...
The only movement i know well
Is certainly the swim.
It comes naturally to me.
I had a house a Malabar
And a pale-green pond.
I did all my growing there
In the bright summer months.
I swam about and floated,
And divided into the cold and green
I lay speckled green and gold
In all the hours of the sun,
Until
My grandmother cried,
Darling, you must stop this bathing now.
You are much too big to play
Naked in the pond.

Yes, the only movement i really know
Is swimming,
It comes naturally to me.
The white man who offers
To help me forget,
The white man who offers
Himself as a stiff drink,
Is for me,
To tell the truth,
Only water.
Only a pale-green pond
Glimmering in the sun.
In him I swim
All broken with longing.
In his robust blood i float
Drying off my tears.
Yet i never can forget
The only man who hurts.
The only one who seems to know
The only way to hurt.

Holding you is easy
Clutching at moving water,
I tell you, sea,
This is easy,
But to hold him for half a day
Was a difficult task.
It required drinks
To hold him down.
To make him love.
But, when he did not love,
Believe me,
All I could do was to sob like a fool.

O sea,
You generous cow,
You and I are big flops.
We are too sentimental
For our own
Good.

Lights are moving on the shore.
But I shall not return.

Sea, toss my body back
That he knew how to love.

Bereft of body
My soul shall be free.
Take in my naked soul
That he knew how to hurt.
Only the soul knows how to sing
At the vortex of the sea.


The Stone Age

Fond husband, ancient settler in the mind,
Old fat spider, weaving webs of bewilderment,
Be kind. You turn me into a bird of stone, a granite
Dove, you build round me a shabby drawing room,
And stroke my pitted face absent-mindedly while
You read. With loud talk you bruise my pre-morning sleep,
You stick a finger into my dreaming eye. And
Yet, on daydreams, strong men cast their shadows, they sink
Like white suns in the swell of my Dravidian blood,
Secretly flow the drains beneath sacred cities.
When you leave, i drive my blue battered car
Along the bluer sea. I run up the forty
Noisy steps to knock at another’s door.
Through peepholes, the neighbours watch,
They watch me come
And go like rain. Ask me, everybody, ask me
What he sees in me, ask me why he is called a lion,
A libertine, ask me the flavour of his
Mouth, ask me why his hand sways like a hooded snake,
Before it clasps my pubis. Ask me why like
A great tree, felled, he slumps against my breasts,
And sleeps. Ask me why life is short and love is
Shorter still, ask me what is bliss and what its price ...


A Losing Battle

How can my love hold him when the other
Flaunts a gaudy lust and is lioness
To his beast? Men are worthless, to trap them
Use the cheapest bait of all, but never
Love, which in a woman must mean tears
And a silence in the blood.

Monday, May 09, 2011

List of National / International Conferences in English Literature and Language

Finding right platform to upgrade or/and dissement your knowledge is not always easy. An effort has been made here to pass on the information regarding conferences/seminars. Any other related information regarding the same would be appreciated.

 Website: http://www.mmecl2011.org
Contact name: Akinobu TANI


Website: http://www.bronte.org.uk/index.php?option=com_content&task=view&id=159&Itemid=214
Contact name: Sarah Fermi


28 Writing for Journal Publication Symposium Aegina Greece
3rd international WRITING FOR JOURNAL PUBLICATIONsymposium, designed to help you improve yourEnglish writing skills and get your academicresearch published in international scientificjournals.
Website: http://lihe.info
Contact name: Dr. Prof. Claus Nygaard

September 2011
02 6th Biennial Anthony Powell Conference London United Kingdom
Sixth international conference dedicated to thework, life and times of English novelist and manof letters Anthony Powell. Theme: AnthonyPowell’s Literary London.
Website: http://www.anthonypowell.org
Contact name: DR KC Marshall
Website: http://www.tudorstuartireland.com
Contact name: The Organisers
Website: http://www.englishacademy.co.za/conferences_11.html
Contact name: Naomi Nkealah
Website: http://www.stbedescollege.in/engseminar.htm
Contact name: Anuja Sharma

22 In Search Of Solutions: The Conventional, The Experimental And The Bizarre Hyderabad, India
Website: http://melusmelow.blogspot.com/
Contact name: Manju Jaidka
Website: http://www.asocopi.org
Contact name: Álvaro Quintero
Website: http://www.ells2011.com
Contact name: Darintip Chansit



November 2011
04 National Conference on Peer Tutoring in Writing Miami Florida
Website: http://www.ncptw.net/2011-conference.html
Contact name: Paula Gillespie

 December 2011
01 Facing Present, Past and Future. Fourth International BAAHE Conference Brussels Belgium
Website: http://www.camtesol.org/
Contact name: VINH Bun Eang


July 2012
12 Crabbe's Tales Newcastle upon Tyne United Kingdom
Website: http://conferences.ncl.ac.uk/crabbestales/
Contact name: Michael Rossington

23 'Magic is Might' 2012 Limerick Ireland
Website: http://magicismight2012.blogspot.com/
Contact name: Gráinne O'Brien

Journals & Magazines on English Literature and Linguistics in India






Following is the list of some of the academic journals and magazines on English studies (literature, linguistics and other subjects taught in English literature depts. in India.) The visitors/readers of the blog are requested to contribute to making this list exhaustive. Should you know of any other journals and their details please leave those details in the comment section.  





1.   Journal of Contemporary Thought
Publisher: Forum for Contemporary Thought, Vadodara, Gujarat and College of Liberal Arts of the Louisiana State University in Shreveport, USA.
Periodicity: twice a year; in summer and winter
Contact: Prof. P. C. Kar, Director, Centre for Contemporary Theory and General Semantics, C-304 Siddhi Vinayak Complex, Behind Baroda Railway Station, Faramji Road, Baroda-390 007, Gujarat, India.
E-mail: prafullakar@gmail.com, raths@cwu.edu
Annual Subscription: Institution: Rs 400/-, Individual: Rs 200/-

2.   The ICFAI Journal of English Studies
Publisher: The ICFAI University Press, #52, Nagarjuna Hills, Panjagutta, Hyderabad,   500082.
Periodicity: 4 times a year. March, June, Sept, and Dec.

3.   The Quest
Publisher: Editor, The Quest, 202, Preeti Enclave, Chandni Chowk, Kanke Road, Ranchi 834008, India
Periodicity: June and December
Annual Subscription: Rs 400/-

4.   The Atlantic Literary Review
Publisher: K.R. Gupta, 7/22, Ansari Road, Darya Ganj, New Delhi-110002 (India)
Editor: Rama Kundu
Subscription: Annual (4 issues): Institutional (net): Rs 1000/-, Individual (net) : Rs 600/-

5.   Indian Literature
Publisher: Sahitya Akademi, Rabindra Bhavan, 35, Ferozeshah Road, New Delhi-110001, India
Subscription: Rs 250/-

6.   Indian Journal of Gender Studies
Publisher: Indian Journal of Gender Studies, 25, Bhai Vir Singh Marg, Gole Market, New Delhi-110001, India
Editors: Malavika and Leela Kasturi
E-mail: ijgs@cwds.org 
Annual Subscription: Individual (print only) Rs 850

7.   Journal of Indian Linguistics 

8.   Language in India (ISSN: 1930-2940)

9.   International Journal of Dravidian Linguistics 

10. International Journal of Translation Studies (ISSN: 0970-9819)

11. Indian Journal Of Applied Linguistics (ISSN 0379-0037)

12. International Journal Of Communication (ISSN - 0975-640x)

13. Parnassus: An Innovative Journal Of Literary Criticism (ISSN 0975-0266),
Published From Feroze Gandhi College, Rae Bareli (Uttar Pradesh), India,
Edited by Dr Nilanshu Agarwal, nilanshu1973 @ yahoo.com
14. Contemporary Discourse (ISSN 0976-3686)Editors,:Sudhir Nikam  and Madhavi Nikam
Web:  http://
www.litsight.com

15.   Muse India - A Literary E-Journal   Web: http://www.museindia.com/index.asp

16. The Muse: An International Journal of Poetry Web: http://themuse.webs.com/