The Dangers of Writing On Spec

by Deborah Straw

No other professional works on spec. No plumber, no electrician, no house painter, no church organ pipe repairer works this way.

An increasing number of magazines seem to want to look only ­at articles submitted on spec. Is this because there are too many writers pitching ideas, and editors want the freedom to be able to choose the best possible products at the last minute? Are there are so many wannabes willing to write for nothing for the thrill of being published? This arrangement may work out for the publisher, but it is bad news for the writer. My advice, based on a 20-year-publishing career, is generally not to write on spec.            

Writing on speculation means that you have a deadline, you have a word-count, and you have an approximate pay schedule. Everything is in place except the promise to publish and pay. Beginning writers often have to write on spec to prove their mettle. Many of us are willing to do this once or twice to break in. We need clips to enable us to get into large-circulation papers or magazines. Note, I said: We're willing to do this once or twice.

But these days, national magazines with good reputations, even some writing magazines (whose role is to support writing as a profession), ask for articles on spec from writers who are relatively known entities with national clips in hand.                

A month ago, I was burned by a major environmental magazine, and I want to warn other writers. Even though I've been a freelance writer for 20 years, and have two books to my credit, some editors ask me to write on spec. This particular editor showed great interest in a 1,000-word article for a column, gave me a deadline, and pointed me to similar articles in his magazine so I would get the tone and style right. The pay scale was high. The piece was to be based on my upcoming book, Why is Cancer Killing Our Pets?.       

As I'm a slow writer, the piece took me 10 hours. Along the way, I asked the editor questions to make sure I was on the right track. He was responsive, polite and encouraging. He answered my emails promptly. I submitted the piece on time (critical to a freelancer's success), and he told me not to expect to hear anything for six weeks. As I tend to be impatient, in five weeks, I emailed him regarding my status. The editor told me that the column's editor (his junior) liked my article and found my information quite shocking. My hopes soared; I made plans for the rather large check. Perhaps I'd buy a new I-Mac or take a weekend trip.            

Two weeks later, I heard  from the senior editor: "No, thanks, it's not quite right for us." I lost close to $1,000 on this venture. I lost thousands of potential buyers of my book. These are big losses to any freelancer I know.            

I asked several colleagues if they had been similarly burned and, of course, they had. One woman who had been writing for a national, four-color magazine for several years, under what she considered a happy, long-term relationship, was all of a sudden told, "From now on, we only look at articles on spec." No explanation was given. The writer had always met her deadlines and the assigned word count. But that new policy was the end of their relationship. She tells me that that particular editor has since left the magazine, and she may try them again. However, she will not write on spec.           

Another friend, the successful author of eight books, has lost several articles written on spec.           

One writer responded, "I decided years ago never to write on spec, without any exceptions. It's not worth the energy. I'd rather turn down a job than accept an offer that drains my power. All that needs to be said is, 'No, thank you.' "           

Editors who are advocates for writers agree with my viewpoint. David Eide, publisher of Cyber Oasis Online, a monthly newsletter for writers, feels that writing on spec is an unfair practice. "I don't recommend it unless you are just starting out. Always try to get a kill fee, preferably 30%."        

No other professional works on spec. No plumber, no house-painter, no church-organ pipe- repairer works this way. Most people get a freelance job based on references or on sample slides (or, in the case of writers, a proposal or clips), they do the job, and they are paid, even if sometimes grudgingly and sometimes late. Architects and designers do occasionally put together  proposals on spec, but they do not perform entire jobs without a definite agreement to pay. 

When you write on spec, you have no legal rights to receive money from the publication. If the editor doesn't use your material, you've lost a lot of time and money, and you may gain nothing except a headache. Another difficulty is, if your article is rejected, that article may not be recyclable.      

Here's my advice: Send your best, relevant clips when you query. When your idea is accepted, expect a written contract that contains a kill fee (25 to 50% is the standard range). Meet all deadlines and word counts. Check examples of related articles as you're writing, and offer to rewrite quickly, if necessary. Be polite and professional in all your dealings with the editor, but hold your ground.          

Another good idea is to establish long-term relationships with a few editors. This precludes the whole query process. If they know your work, they will frequently look at a five-word idea and say a solid "yes."            

Writers deserve better treatment than half-promises. Once you've established your voice and your reliability, your time and talents are valuable. As a professional writer, you should expect a written contract and a kill fee from professional markets.           

These are the Web sites and the magazines for whom you should be writing, and with whom you should develop long-lasting relationships.

-- DS
©2000 Deborah Straw
 

Deborah Straw's articles and essays have been published in Yankee, American Bungalow, Coffee Journal, Amicus Journal and many other magazines. She has written two books: Natural Wonders of the Florida Keys (NTC Contemporary Publishing) and Why Is Cancer Killing Our Pets? How You Can Protect and Treat Your Animal Companion (Healing Arts Press).