A guest post by Naomi Tomky
As a freelance food writer, when I saw Dianne end her post positing that, perhaps, food writers are their own worst enemy when it comes to demanding good pay, I knew she was right.
But it’s a deeper problem than that. Not only did her piece on how there’s no money in food writing not match my experience, but in a way, it hurts our industry. The more we normalize low wages, the more we sink our own ships.
Last month I billed $9300 writing about food and travel as my full-time job. I’m not a dude or a staff writer. I don’t live in New York and I didn’t come into this with any connections. I make money as a food writer because I run my freelancing like a business owner (I mean that in the least Donald Trump-y kind of way), not a creative.
Most months, I average about $6000. I work my version of full-time, which means leaving my computer to pick up my 1½-year-old from daycare each day at 4:15 p.m. and not working on weekends. I make more, work less, and have far more flexibility now than I did in my previous career.
I spent eight years as a marketing manager for grocery stores, a frozen-seafood company, and restaurants. Occasionally, between jobs, I’d pitch an article or two, which turned into one column, then another. The side gig of writing eventually turned regular and I quit my marketing job to write full-time in October 2014. By August 2015, I made more money writing than I did in the office. But as I blindly navigated my new career, what set me apart from other food writers were mostly skills I learned from marketing.
It’s easy to romanticize the writing life. But to do this for a living, I must take that starry-eyed dreamer and lock her in the closet, while I get down to business.
Here’s what I do that resulted in making at least $60,000 per year as a freelance food writer:
1. If you can’t be brilliant, be reliable.
The first time an editor mentioned being thankful I always turned in my work on time, I laughed. When I was churning out weekly ads and monthly newsletters, being late wasn’t an option. I assumed as much in writing. I was wrong.
[As a freelance food writer], I make more, work less, and have far more flexibility now than I did in my previous career.
Being someone an editor can count on not only makes them more likely to accept a piece. It often means they’ll come to you with ideas. About half the work I billed in March was directly commissioned, not pitched, which saves time and creates a steady source of income.
2. Throw money at the problem.
If you’re not getting anywhere with story pitches, invest in a pitch coach. It was the best money I ever spent. We did three sessions and it paid off nearly immediately (in the form of my first pieces for Lucky Peach, then a goal publication for me). The coach worked with me on where and whom to pitch, suggested outlets, and she edited my pitches. I came out more confident, more prepared, and making more money. Now, I use many of her tips, as well as ones I’ve gained since, to pitch-coach new writers into bettering their own careers.
Whatever your issue, there is probably someone (cough, cough, Dianne) you can pay to help you—ghost-editors, financial advisors, pitch coaches, and book proposal doctors. This is a business. Invest in it.
3. Pitch non-food magazines.
Most of my work isn’t for food magazines. I’m a freelance food writer, but I write for travel magazines, general interest rags, and brand pubs.
In March, $2900 came from unbylined ghost-writing for major travel brands. Another $2900 was for private publications, which includes airline magazines, local tourism bureau guides, and random quirky things like an aquaculture association that I found through an online writers group.
We’d all love the big Food & Wine print byline, but if you want a sustainable career, your pitches might be better sent somewhere that will provide consistent long-term work.
4. Per hour means more than per word.
The highest rate I billed in March was $1 per word. The lowest was $0.27 per word. But most of my work falls around the $0.75 per word range. It’s a rate many vets sneer at, but for me it works because I measure my rate differently: I accept only work that I can do fast enough to earn $75 an hour. I estimate the research, writing, and editing time for that topic, length, and publication to see if it will make me $75 per hour.
With few exceptions, I don’t take any work for less than $200. It’s simply not worth the effort to start a new train of thought, pitch, and bill. It’s about the hourly: if you get $1,000 for 1,000 words, and you write it in six hours, that’s $167 an hour. If you take ten hours to write it, that’s $100 an hour. If you spend 20 hours on it, you’re down to just $50 per hour.
5. Always ask for more money.
And we’re back where we started. The reason I agreed to write this for Dianne wasn’t because I want to brag about what I make. It’s because the more we talk about money, the fairer the industry is.
When we all walk around saying, “There’s no money in food writing,” it’s easy for new writers to assume that everyone is only making $25 or $50 on a piece and accept what they’re offered, especially when it’s a side gig or part-time job, not what they depend on to pay bills. But hobbyists should be no less proud of their work. And good writing by someone who does it as a second job is worth no less than it when I do it full-time.
The more we, as food writers, push back on shitty rates and shittier contracts, the more editors will push back on their higher-ups. Companies are making money off our work, so why shouldn’t you? And, who knows, maybe someday you’ll quit that day job and join me as a full-time freelance food writer.
I ask editors for more money almost every week. Sometimes it’s an editor I write for frequently, and sometimes it’s my first piece for them. Sometimes they say no—and then sometimes I say no. More often, they say yes. And then I make more money, and you can, too.
Every day I learn something new about making a living as a freelance food writer, whether it’s a good phrase to request more money (“Is there any wiggle room in that budget?” is my usual favorite) or new outlets that pay well (this list came out last week and seems strong). But the most important realization I ever had is that we’re all in this together. We need to share what works for us, to reach down and help the people following us up the steps to success. I hope I’ve done so in this post, and I hope you’ll do so in the comments below.
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Naomi Tomky is a Seattle-based food and travel writer. She writes for Saveur, Thrillist, and, if you fly Southwest, Alaska, or Malaysia Airlines this month, is in your seatback pocket. Follow her on Twitter @Gastrognome and check out her writing, consulting, and teaching at NaomiTomky.com.
We have the same career struggles in travel, FWIW. Naomi’s advice is super solid. A point to note — I don’t make my entire living writing about travel, only a portion of it, but I do make my living writing. There’s something about the nature of the occupation that we feel like we have to do ONLY one flavor to be successful, but that’s not so. Every month I pay my bills without having an office job feels like a triumph — and simply don’t care if all that work has been under the umbrella as travel.
Yes! This is an excellent point, and falls into one of my favorite sayings, which is that there is no “one” vision of success in this industry. For some, it may be writing only by-lined food pieces, for others–like you–it is never being tied to an office gig. Part of finding your way is picking those priorities.
When I was in freelance marketing my success came from much of what Naomi advocates. Somehow since food writing started as a “hobby” there was a disconnect for me. Good advice to remember you are running a business.
We all need a little reminding (I think I should post this on my wall myself). It’s easy to get bogged down in the dreamy parts instead of focusing on the boring parts that make it a reality.
I have this speech by Naomi Tomky on my bookmark bar, and watch it regularly. One of my favorite lines, “I was swimming in the kiddie pool when I should have been throwing bait to the sharks!” https://www.youtube.com/watch?v=gutSAYTnups
Ha. I thought about just pasting that speech into the post and calling it a day! Thanks for linking it.
This is a fantastic piece and I so appreciate Naomi’s honesty. All too often in this business we are happy to share the larger details but not the actual $ and techniques. Magazine writing has always seemed like voodoo to me — I’ve written 30 cookbooks and “doctored” or edited many more, but my magazine track record is dismal. Probably because I focus on wanting to see my name in the New Yorker (never), Food & Wine (once), and Saveur (twice). Every few years I make a concerted pitch-push, then drown my sorrows when nothing happens. Clearly, I need a pitch-coach! Thanks for making this happen Dianne!
I’d love to know what percentage of your work is “content” or marketing writing rather than strictly editorial, if you’re willing to share that. I do both, but often find the less editorial work (and almost always without a byline) the better it pays.
Hi Amy, in March (my example month here), which is pretty typical, all of it was editorial-style, but as I mention in point 3, about 1/3 of that was unbylined corporate work–like a hotel chain that wants 5 places to eat brunch in Seattle or a liquor company that wants a piece on why Seattle’s an awesome place to drink. Another third is private pubs, which is basically airline mags or similar, but I pitch, write, and get a byline. The final third is traditional media. I think that’s what you’re asking? I actually find that middle segment–the private pubs–to be the most profitable.
There is editorial writing for editorial outlets or content writing for corporate entities. What you’re calling “corporate work” might be editorial in nature but especially if it’s not bylined and is for either a content marketing agency or a corporation, it would be considered custom content by professional organizations like ASJA. So it sounds to me like 1/3 of your work is content, but it represents more than 1/3 of your income?
Thanks for the great advice, Naomi!
Thank you, Naomi. Transparency is the only way to change the world. Thank you for being brave enough to show us all your cards. Your clients are lucky to have you.
Thank you, Lori! It was very scary to put this out there, but I agree with you–this type of conversation is how we can bring about change.
Great post Naomi, thanks! Encouraging, honest, inspiring. And love the tip about pitching to non-food pubs. Everyone is interested in food today. And I could not agree more on hiring a coach (ahem…DJ). With Dianne’s coaching, editing and pushing (with me sometimes kicking and screaming) I am almost done with my first book proposal and am very excited about it. Thanks to you both for all you do.
Congrats on finishing the proposal! Yes, food is a popular topic these days, and we’re the experts–we should be the ones writing those pieces.
I love the idea of setting a base rate that you won’t go below, but I’ve always done it on a total project basis. The idea to do it on an hourly basis is genius, especially since it can help account for the non-writing (research, billing, buying printer ink) time. Thank you Naomi!
Yup, it’s all about setting that lower limit. I’ve had to drop clients that broke my heart because I wanted to write for them/about the topic they accepted, but they just couldn’t pay what I need to make to pay the bills. Everyone will have a different formula for how this works and what they need to make, success is all about figuring out yours–and achieving it!
Wonderful guest post! This is great advice not only for writers, but for women in all areas of the food/media industry…or any industry—ask for it! Too often we don’t get more because we are afraid to ask for more. So let’s all agree to help ourselves and our colleagues by following Naomi’s sage words and asking for more. We will all profit from it.
Thanks, Deborah! Yes, this is quite applicable across industries…life in general! The worst people can say is no (and if you watch the talk I gave that Traca linked to in the comments above, I speak more about that).
Amen sister! This “I assumed these were table stakes, but it turns out they’re competitive advantages.” is SO true. I get rehired often, not because I’m the most creative writer or recipe creator, but because I’m reliable and always deliver good work ON TIME. I often get people who want my advice on “how to make money at this”. But they never like my answers. Treat it like a business, work hard, deliver, and build relationships. So wonderful to read these words from someone else. Thank you for this positive message – making a living in this industry is definitely possible!
Alisa, you nailed it. It SHOCKED me when I first learned how rare being reliable is, and, yet, I’ve truly managed to build a career on it. You’re right that people often don’t want to hear it–goes back to the romanticization of the industry I talked about (something which often gets exploited by corporate heads/publications)–but it is the dang truth!
Meeting deadlines is so important. I have spent most of my working life in the NHS (where deadlines and timelines are key) before I turned to writing, not that I didn’t churn out 1000 words at least every other day in psychiatry. I am still bemused by the moans and groans of some writers when on deadline. It’s not a big deal, the workplace- and life- is filled with them. I don’t know why writers build deadlines up into such a big deal as it can be very discouraging to hear as a newbie writer.
Secondly, if you can identify a speciality, you’ll earn more. I service my life via psychiatric and mental health promotion copywriting. It pays extremely well, I can practically do it in my sleep, and this allows me to build skills in food writing.
Very astute–I think having a previous career is great training for being a freelance writer, regardless of the career, because you just have that other perspective on deadlines.
Specialties are also quite helpful! I personally never really had one (other than perhaps Seattle, as a local expert), but have often wished I did.
Naomi, thank you for clearly and concisely sharing not only your approach to your business but also your outcomes. Your first point made me smile: I began my consulting career 26 years ago as a grant writer, a business based entirely on deadlines. As I was starting, I created a short feedback form which I asked clients to complete after our first project together. That first year, I was stunned to see that the #1 compliment clients shared was, “You answer your phone.” I admit I was taken aback to learn that they were more focused on responsiveness and meeting deadlines than on powerful writing. Yet, clients don’t necessarily hire us to be brilliant, they hire us to meet a business need. (I’m defining client broadly here–most of my work these days is with authors and book publishers.) Thanks for the reminder that this is the essential thread that runs through all our work. And continued success to you in your career!
I love (and agree) with your line about why clients hire us–not to be brilliant, but to meet a business need. It’s completely right, much as some people want to ignore it.
Great read! I too make a living writing about food – and support my family at it. You’re right about not having all your eggs in one basket – but it’s tough asking for more money when most print outlets are struggling too, and often don’t have the luxury of offering more money. Of course there’s more money to be made writing custom content, so like you I do a combination of editorial and custom content. I don’t have a low end, because I think there are other benefits beyond a paycheck – I’ve turned down plenty of high paying work that isn’t the right fit, and agreed to do stories for less pay when I know they just don’t have a higher freelance budget but I really like having that platform. Or if it’s something that’s easy for me to put together ($100 for an hours’ work is not bad, and hard to turn down at a time when so many in the industry are losing their jobs) – with such a range of budgets, I find it all evens out! I also teach classes and do events, radio, TV etc, which creates other income streams, and I write cookbooks. I always find it funny when people refer to “filling in the gaps” by diversifying and writing cookbooks.. for most cookbook authors, the books themselves aren’t really money makers – I wish I had time to do more, but unless you sell a LOT, they don’t make much compared to other forms of writing!
It’s great to hear your insight on how you work: one of the things I wanted to get across in this piece isn’t necessarily that I’m doing everything right, but that if we all share what works for us, we can all learn new ways to look for success! So thank you for sharing!
I have done only a bit of teaching in the past (mostly because the self-promotion part of teaching is a difficult piece), but the reactions to this piece have made me think that I should do more.
I SO agree.. there isn’t a right or wrong way of doing things, or a standard everyone should be expected to adhere to – it’s whatever works for you!
Naomi — what would you consider to be your top three online writer forums/groups?
Hi Maura, I would say my number one is Twitter–it’s where I find most of my leads, connect with editors, see calls for pitches. After that, I’m in a number of private groups on Facebook, including some for women writers, and some for attendees of specific conferences. I’m not sure of other public ones, I’m afraid.
Thanks for this post, Naomi and Dianne. Naomi, have you ever come up against a conflict of interest between your corporate and editorial work? For example, if writing about brunch places for Hotel X, do you have rules about whether that hotel is mentioned in a separate project (bylined or not)?
Eagranie,
I haven’t personally, because my corporate and editorial has generally been parallel (as in both are “top 5 brunches” as oppose to your example). Simply put, if it were to happen, I choose best on sheer quality: I wouldn’t allow who pays me to interfere with how I write a piece.
Thanks, Naomi and Diane. Excellent points. Would add proviso about retaining rights. Recently finished piece in which I rewrote much of contract, which was accepted. As everything I’ve written is bylined and pretty much straight journalism, Naomi/Diane, can I ask about tips on finding great journalism markets?
Also, which are the best-selling cookbook genres/markets? Thanks for such a great post!
Hi Karen, thanks for the comment. Yes, I try to make sure I retain rights on anything that isn’t just a basic listicle (which usually obseletes itself within a few months, so not worth fighting over). I’ve rarely had a problem requesting this when I’ve brought it up with editors. I find most of my outlets in one of two places: 1) From twitter posts by editors/friends (if you follow me, I tend to re-tweet calls for pitches I see) and 2) places that I read. I can’t speak to cookbooks, I’m afraid, not my area of expertise.
Thanks for the transparency! It’s so much appreciated! I am not a food writer, but I am a food YouTuber, and the same issue arises when brands want to work with us on sponsored content. It’s hard to know how much to ask because no one talks about what they’re getting paid, so no one knows what they SHOULD be paid. And being a new-ish profession, “industry standard” may not even be established yet for all I know. Then I came across a website called Social Bluebook that looks at your stats and then tells you a range you should/could be asking for for various types of sponsorship. What a relief! There should be something like this for every freelance jobs!
I just looked up that site, Pailin, and will include it in my next newsletter. Now I have to try it. Thanks for the tip.