Advice when applying for non-creative writing jobs

writing-laptop-rgb

At my day job this week we’re recruiting a new writer for an online content position. We advertised on SEEK for the first time, and as expected we’ve been inundated by applications.

Part of my job involves sorting through these resumes and removing the applicants who unfortunately don’t seem suited to the role. I’ve been amazed and a little alarmed by the simple instructions applicants have overlooked, while others have really impressed me with their efforts to stand out to our organisation.

Applying for writing jobs is incredibly hard – finding them can be a tricky task in itself – and those hiring can afford to be choosy because these days they’re picking from an ever-expanding pool of professional writing graduates, retrenched journalists and aspiring writers.

There are some common issues I’ve encountered since starting our recruitment process. While much of my advice will seem obvious or irrelevant, I’m hoping the below tips will help you strengthen your application when going for your next paying writing gig.

Advice when applying for non-creative writing jobs

Include a cover letter, even if the ad says nothing about one. We purposefully didn’t spell this out in our ad because we wanted to see how applicants would respond without instruction. It sounds slightly disingenuous, but organisations will do what they can to sort through applicants faster. Your resume demonstrates your education and experience, but it doesn’t elaborate on these points in great depth, and it doesn’t address the organisation personally.

If they ask for writing samples, give them writing samples! Don’t treat this as an optional request. Doing so will probably send your application straight into the no pile, despite your suitability for the role, because it suggests you didn’t read the requirements properly. It’s a writing role, so they want to see examples of your talent. Show yourself off! Don’t be afraid to send essays you’ve written for uni if you haven’t had anything published – but if it’s a 2000 word piece, cut it down to a small blog-sized extract.

Tailor your cover letter to the job you’re applying for. I can’t emphasise this enough. It’s ridiculously easy to spot a generic cover letter, especially when you haven’t addressed the selection criteria, and it’s something I’ve seen a lot over the past few days. There’s nothing wrong with tweaking an existing cover letter, especially if you feel it’s a well-written general template, but it’s vital that you personalise it and show a genuine interest in the organisation. Otherwise, you risk the impression you’re churning out application after application after application – and even if you are, you want to hide this!

Mention your passion and enthusiasm for writing – make your joy for your craft abundantly clear. My boss often sets aside applications that don’t sound passionate enough. This is what you love, and it’s encouraging to hear that.

If it’s a corporate position, play up the non-fiction pieces you’ve written (in that space or otherwise) and play down your creative aspirations. There’s nothing wrong with mentioning creative writing as one of your interests, but talking at great length about your sci-fi novel when you’re applying for a business journalist role indicates that your interests lie elsewhere, and again, it suggests you haven’t read the position description properly, or you’re just looking for a rote job to subsidise your true writing passion. That might be exactly what you’re doing, and there’s nothing wrong with that (we all have to pay the bills), but going off on a tangent like this shows a lack of awareness for the industry you’re trying to enter.

Proofread, proofread, proofread! Don’t send something off in a rush. You might be really excited – you’ve found the perfect job! – but it’s a good idea to let your application sit on your harddrive for a few days. Your attention to grammar and sentence structure is obviously pretty important, and it’s so easy to miss a minor but glaring mistake when you don’t take the time to do a thorough check. If you feel like you’ve reread your cover letter one too many times, pass it on to a friend or a family member for a final once over. Think of it like workshopping your fiction – getting another person’s perspective improves your work for the better, because it’s entirely new to them. Plus they know you so well they’re likely to point out positive traits you’ve forgotten to mention about yourself.

Calling the organisation to ask more about the position shows initiative and you will be remembered for it. You might assume everyone else is doing the same thing and there’s no point bothering, but odds are they’re thinking similarly. I’ve spoken to 2 out of a pool of about 50 applicants so far, and I remember both of their names. If nothing else, it’s a good way to clarify something confusing in the job description.

Don’t contact the organisation through social media channels asking them about their decision. It’s awesome that you’re doing your research and you want to demonstrate that, but Twitter and Facebook can make businesses seem quite light and approachable because that’s the persona they want to cultivate. You’re on the other side now. At the end of the day, it’s a job, and you could be accidentally portraying yourself as someone unprofessional and pushy.

Ricochet – the flashback edition – open for submissions

Submissions Open

CALL FOR SUBMISSIONS

Think decadence and bright lights; desperation, a world on the cusp of war; Casablanca; the haze of cigarette smoke; one small step for man; James Dean; world peace vs agent orange; mini-skirts and bitchin’ rides; bad hair and garage bands; backyard cricket, daggy jeans; sprinklers whirring all summer long. 

Pick any era and make it your own. 

We’re looking for short fiction (up to 3000 words), flash fiction, memoir, poetry, photography and visual art to fit the theme FLASHBACK.

Feel free to be as creative and experimental as you like!

For the first time, we’ll also be accepting columns and reviews based around the theme. If you’d like to send us commentary, or reviews about films, books or television shows set (but not necessarily written, although that’s fine too) in another time, we would be happy to consider them. If you’re unsure about a topic, feel free to send us a pitch outlining your idea and we will endeavour to get back to you as soon as possible with our feedback. 

The deadline is Wednesday July 31st, 2013. Please send your submissions to ricochetmag@hotmail.com.

Visit our submissions page for full details.

Submissions around town: May

Writing

Hello everyone! Long (long) time, no blog.

The good news is, we will be making an exciting announcement later this week regarding Ricochet Magazine.

In the meantime, enjoy a list of the submissions opportunities going around town.

SUBMISSIONS open

Visible Ink are accepting submissions of short fiction, creative non-fiction, poetry, photography, original artwork, comics, graphic fiction and illustrations for their 25th anniversary edition. The theme is EVOLVE.

Offset Arts Journal are accepting prose, poetry, artwork and multimedia submissions around the theme 13.

COMPETITIONS

The prestigious Alan Marshall Short Story Award is open for entries until May 17th. Open First Prize is $3000 for stories up to 2500 words.

The Katherine Susannah Prichard Speculative Fiction Award is open to science fiction, fantasy, horror and mystery speculative fiction entries.

The ABR Elizabeth Jolley Short Story Prize (worth $5000) is accepting entries until May 31st. It will be judged by Tony Birch (academic and author of the 2012 novel Blood), Maria Takolander (poet, critic and a past winner) and Terri-ann White (Director of UWA Publishing).

The Peter Cowan Writers’ Centre Patron’s Prize for Poets competition is open for unthemed and unpublished poems until May 31st.

The Australian Horror Writers Association are after horror stories for their Short Story and Flash Fiction Competition. Entries also close May 31st.

The Shoalhaven Literary Award is open for short stories up to 3,000 words. First prize is $1,000 plus a two week residential at the Arthur Boyd Centre, Bundanon on the Shoalhaven River.

For the romance writers among you, the Some Like it Hot Romantic Fiction Competition is looking for unpublished works of 50,000+ words. First prize is $1,500 and a publishing contract with Steam eReads. Entries close at the end of the month.

MENTORSHIPS and INTERNSHIPS

Meanjin is offering four $3000 New Media Art Mentorships for early career and emerging arts critics.

The ABR Patrons’ Editorial Internship is a PAID internship with the Australian Book Review to help edit and digitise the magazine. The gig is worth $20,000 over eight months.

Entries for the Qantas Spirit of Youth Awards – Written word close in two days. This AMAZING opportunity offers writers aged 30 and under $5,000 in Qantas flights anywhere in the world, a professional mentorship with Lisa Dempster (the Director of the Melbourne Writers Festival) and $5,000 in cash.

Submissions for Issue 3 Open

Due to new study/work ventures on the part of the editorial staff, Ricochet has been very inactive these last few months, and for that I apologise.

No more! Though we will likely only get three issues out this year, thus renouncing our as yet unfulfilled role as a quarterly mag, I’m happy to say that we are now accepting unthemed submissions for Issue 3. We will be accepting work until Sunday June 5, 2011. So get creative, dream big – honestly, we want whatever crazy, provocative, scintillating work you can throw at us. As always, we look for short fiction, poetry and visual art, and our submissions guidelines are available in more detail on our submissions page!

Emerging writers enter the digital spotlight

Almost two months ago now, I finally stepped into the next era in reading and literature when I purchased my first eInk digital reader, the Sony Reader Touch. I was waiting for a wide variety of devices to become available in Australia as well as a wide variety of books, but I suppose you could still call me an early adopter.

I was interested in the format and getting into digital reading from the perspective of a reader but also as an emerging writer. Whilst Australia still has a little way to go for the mainstream reader, the current climate provides opportunities for the emerging writer to get in first.

Aside from loading friend’s eBooks and short fiction onto the Sony Reader, I wanted to load the books I was currently reading, was planning to read or resume reading again. They’re a variety of Australian and international writers published by both big and smaller publishers. I was disappointed to find that none of them were available, either at all or just in Australia.

The lack of eBooks available in Australia remains a problem and it’s definitely a barrier to people switching over. If I can’t get the book I want to read as an eBook, I’m forced to still read the printed version. The most frustrating barrier is when the book is available as an eBook online but restricted to only certain territories, usually the US. You really do question why a publisher would prevent someone from honestly paying for the book.

There are numerous reasons why certain books are unavailable digitally in Australia I found out after asking several publishers. Either it’s outstanding digital licensing agreements either for Australian territorial rights or at all – or to my surprise, just waiting for the books to be converted into the right formats. So a lot of publishers are on the way. This is welcome news.

For readers, there is still a while away before you can just load pretty much any book you could have bought in a bookshop onto a digital device such as my Sony Reader. For the emerging writer though, the ability to quickly and easily release your own work digitally provides a chance to experiment in ways that were basically financially out of reach for most of us when print had a monopoly on publishing.

Services like Smashwords.com provide avenues where a writer can easily format their writing in a word document and upload it to be converted into formats to be sold. They can be easily distributed for devices such as the Sony Reader, Kindle or iPad and iPhone.

I’ve experimented a bit with the service, releasing a collection of old writings as a bit of a sample. I wanted to replicate the experience where up-and-coming bands playing at local pubs sold copies of demos to spread the word and raise money. Digital publishing allows me to do that with little risk. The same could be said for print-on-demand technology.

I feel we have a bit more of an even playing field than we would in a bookstore, aside from the obvious factors of marketing and popularity. With many of the bigger names still waiting to be released into the digital world, there’s a kind of gap there for us to get in and see if we can get a bit of attention.

My collection is in the same catalogue on the iBookStore as Stephen King’s collection. I’d never imagine my little self-published eBook could do the same in a real bookstore.

There are of course ramifications to the risk. Does releasing a self-published collection devalue me as a writer or even the average quality of eBooks as a whole? The question is yet to be tested.

In an environment that’s unsure and quickly changing, these are questions worth testing. Whilst bigger publishers drag their feet, emerging writers have little lose when taking the spotlight.

Benjamin Solah is an emerging writer who coined his own genre, Marxist Horror. Aside from writing, he’s involved in political activism, performance poetry and blogging. His thoughts on digital publishing among other things can be found on his blog, Benjamin Solah, Marxist Horror Writer. His collection, Sanity Juxtaposed, can be found on Smashwords.com or the iBookStore.

Battling procrastination

So how do you all manage to juggle your writing pursuits with your job?

In my case, the answer is very poorly. I am a big procrastinator, so that plays its own role. At the end of the day, I would much rather face a bit of mindless television than a decent stint in front of the computer. And I think writing has become more of a discipline to me since finishing university – the pressures of producing something good, something worthy, have compromised my ability to become inspired, and I now tend to peck away at something for quite a while before I feel it’s at a quality good enough to be read by others.

Is this self-doubt a bad thing? Probably. In ways I think it can be helpful. It makes me check and recheck my writing, draft and redraft. But that compulsion is at odds with my hectic schedule, meaning that if I allow myself to pop in that DVD, very little gets done.

During my last year at uni, a modestly successful author come in to lecture to our writing class about her writing process. She claimed she had to literally schedule in 35 minutes of writing time at 10:00am, and 20 minutes of writing time at 12:45pm, and so on and so forth, to fit in around her kids and her job and her various other commitments. She seemed quite amazed (dare I say disgusted) at our lax attitude to writing, and the odd little quirks we had to perform in order to get ourselves in the mood for the task ahead; fixing a cup of coffee before sitting down, lining up bits of stationary in colour coordinated rows, checking our emails so the lure of the internet didn’t strike and ruin our productivity. She simply didn’t have the time to gather her thoughts; she had to get down to business right away and then forget about plot and characterisation and structure until her next ‘scheduled appointment’ with her muse.

I found her clinical attitude rather off-putting at the time. But I am now starting to understand where she was coming from. It’s hard to indulge your desire to clean or read or surf the net to put things off when you don’t have a lot of time to begin with. It’s a tough reality that the working writer has to prioritise just about everything else above that thing that we love. I try to write where I can; in small outbursts on the train, over my lunch break; when the neighbourhood has been subdued by sleep and the clock is ticking on the wrong side of midnight. It’s not always successful, but I remind myself that I have to get over those hang-ups messing with my creativity, or I will never write a damn thing.

Competitions of note coming up include the Ethel Webb Short Story Competition, closing on October 31st. Entries must not exceed 4,000 words, and there is a $7 entry fee.

The Brighton COW Short fiction Competition welcomes entries up to 3,000 words on any theme. First prize is £100 and all prize-winning entries get publication on the website. The deadline for entries is November 1st. A £4 entry fee is payable via the website.

The Poetica Christi Press Annual Poetry Competition closes on October 31st. They are accepting poems up to 50 lines on the theme ‘Horizons,’ and there is a $5 entry fee. The top 25 poems will be published in a 2011 anthology. The entry form is available for download on the website.

The 2010-2011 Neil Gunn Writing Competition closes on March 11th, 2011.

There are 4 separate sections of the competition. Adult prose (Narrative form) up to 2500 words, Adult poetry up to 40 lines, Secondary school (S3-6) poetry or prose and Primary school (P5-7) poetry or prose. The theme for the competition is ‘A Wrong Turning.’ Only the adult sections are open to all writers worldwide.

And in addition to our call for submissions of poetry, fiction and artwork for our second issue, we are now looking for bloggers to write on a variety of subjects to liven up this somewhat sporadically updated blog.

We are looking for articles about publishing opportunities, literature, ideas and perceptions about writing, and experiences within the industry. It would be great to have a contributor discuss overseas opportunities as well, so Americans/UKers, please don’t be shy.

If you are interested, shoot us through an email with an article you think might be relevent (500-1000 words) to ricochetmag@hotmail.com. If you would prefer to contribute a one-time only article, that would be great too, just let us know.