15 Misconceptions About Freelancing
Freelancing is often surrounded by misconceptions that can mislead those considering this career path. One common myth is that freelancers lack job security; however, many freelancers build stable careers by diversifying their client base and continuously marketing their services. Another misconception is that freelancers earn less than traditionally employed individuals; in reality, many freelancers match or exceed their previous salaries, especially as they gain experience and specialize in high-demand niches. Additionally, the belief that freelancers have no bosses is misleading, as they must answer to clients and adhere to project requirements and deadlines. The notion that freelancing is less legitimate than traditional employment is unfounded, as freelancers are recognized as independent contractors and contribute significantly to the economy. Finally, while some assume freelancers are socially isolated, many actively engage in networking, collaborate with clients, and participate in professional communities, maintaining robust social interactions. By understanding these misconceptions, freelancers, their clients, and everyone else can glimpse a clearer picture of what it’s like working independently.
This blog post was written by a human.Hi readers and writerly friends!
If you’re a returning reader, welcome back and if you’re new to the blog, thanks for stopping by! In this post, we’ll discuss fifteen misconceptions about freelancers (writers, editors, artists, entrepreneurs, and content creators). There’s a lot of stigma surrounding freelancing and the instability of working for oneself. Many people who aren’t freelancers or entrepreneurs have misconceptions about freelancing and I’m here to debunk them!
Many of the misconceptions surrounding freelancing are based in ignorance and I can understand how people looking from the outside in may have these ideas about freelance work. While some of these may be true for a portion of the freelancer population, they’re certainly not true for the majority. Every freelancing business is unique and comes with its own set of challenges. What makes some of these misconceptions truths and some of them myths is how freelancers handle those challenges.
This is not a complete list, but some of these misconceptions and myths about freelancing include:
You own your own business
You don’t have a boss
You can work whenever, wherever, (and however) you want
You only have to work on projects you like
Freelance work is always exciting
Freelancers make more money for less work
Freelancers make less money
There’s no job security
As a freelancer, you don’t have employee benefits
Freelancing is more stressful than a full-time job
Freelancers should work for free
Freelancing isn’t 100% legit
Freelancing hurts real businesses
All freelancers want to get a “regular job”
Freelancers are socially awkward
You don’t have to be a boss to be your own boss
While this is true for many freelancers, it’s not necessarily true for all of them. Many freelancers are employed by other entrepreneurs and still have to report to a boss.Even if you’re a freelancer, running your own small business from home, you still have to answer to clients and colleagues whom you work with. As a freelancer, your boss is the client.
You can work whenever, wherever (and however) you want / you only have to work on projects you like/ freelance work is always fun
Freelance workstation in a coffee shop. Photo by Toa Heftiba.
Many successful freelancers have the freedom to pick and choose to some degree, the projects they agree to work on. However, when work gets low, and clients are sparse, the pressure to agree to whatever work comes your way is higher than ever. As someone working for themselves, freelancers typically have to work harder to deliver a quality product. However, it is true, to some degree, that freelancers can work where they please. As long as they’re working for themselves or if they have a lenient boss, they can work from home, a library, a coffee shop, or from the park; they just need a place where they can focus on their work and avoid distractions.
Likewise, freelance work is not always enjoyable or exciting. Freelance work can be tedious and grueling some days and often consists of administrative work and accounting. As mentioned in the next misconceptions below, many freelancers who are just starting out often have to take what they can get, and this means they can’t afford to be picky about jobs. As a result, a lot of novice freelancers end up taking hard or boring jobs to make ends meet and build out their portfolio for hopefully better-paying, more interesting jobs in the future.
Freelancers make less money and/or do less work
Many freelancers charge less than the larger companies they compete with to give themselves an edge. Many other freelancers charge within industry standard and offer sample services to demonstrate their skills and quality of work. Many other freelancers charge above industry standard because their skills and services are worth the expense and they have the credentials and testimonials to back it up. Freelance pay depends on your field and how in-demand your skills/services are. Starting out, you may have to build a reputation and possibly accept lower paying jobs to build a strong work history. Testimonials, reviews, and referrals are excellent ways to boost client confidence in your abilities.
There’s no job security for freelancers
While freelance jobs are known for instability or unpredictability, the idea that there is no job security in freelance work, is just false. It depends on what you consider job security and what level of security you’re looking for.
It can be argued that standard day jobs don’t have job security, because if you’re an employee working for just one company or organization, you could be fired, losing your only source of income. However, if you’re freelancing, and you’ve got a few different clients, losing one at a time, would not cost you your only income. Replacing a single client can be much easier than finding another full-time job. It seems finding clients is somewhat less competitive than applying for a job to which many other people are also applying.
Freelancers get zero company benefits
The more savvy freelancers just might surprise you with this one. A freelancer might not have a traditional 401K but that doesn’t mean they don’t have great health care and long-term savings. Many freelancers also have the privilege to take longer vacations and more often. They often have just as many or more sick days at their disposal than typical employees and they can pick and choose their insurance benefits from a wide array of companies, rather than having to enroll in just what their employer provides.
Freelancers clutching her head in stress. Photo by Elisa Ventur.
Freelancing is more stressful than a typical 9-5
For some freelancers this is true. As mentioned above, freelancers who are just starting out may have to settle for challenging or boring/tedious jobs in order to cover their bases. And many seasoned freelancers still struggle with stress due to other factors such as family and lack of time management. However, many freelancers have figured out how to manage time, stress, focus, finances, and work-life balance which translates into lower-stress positions with more pros than cons. I think this one specifically is influenced by 1) the field and demand of services/skills and 2) the freelancer’s approach to work.
Freelancers should work for free / freelancing isn’t real work
Yeah, right! Try telling that to the IRS! Freelancers are considered independent contractors and they are generally required complete a 1099-MISC or similar form for taxes. And freelancers often work long hours and produce thoughtful, quality work as a result and should certainly be paid for their services. Freelancers not delivering on their end of the bargain should be confronted and asked to rectify this. One way to avoid this is to provide sample work, testimonials, referrals, and reviews to demonstrate skills and services.
Freelancing hurts real businesses
You might be surprised to hear that the opposite is true, actually. Often, small companies that cannot afford to hire full time employees may rely on contracted work to keep their business running. They may sometimes collaborate with other freelancers to meet their needs on a budget too. Freelancing does not hurt businesses; it stimulates the economy and allows more consumers to participate in the free market. Freelancers also give the market alternative options to large corporations with a large price tag.
Freelancers have multiple jobs or have to supplement their income
While many people do freelance work to supplement their income, there are also many freelancers whose first picks would be freelancing because of the benefits and freedom it provides. Freelancing is especially appealing to the millennial generation, who are less productivity-focused and more meaningful-work -focused, non-traditional families, and entrepreneurs.
Freelancers meeting at a coffee shop. Photo by Brooke Cagle.
Freelancers are socially awkward
Another common misconception about freelancers is that they are socially awkward, are hermits, antisocial, or loners. While many freelancers prefer solitary work (for many different reasons including creative control, time management, and freedom,) many work alone simply due to the nature of freelance work. Some freelancers collaborate with other freelancers which helps them network and build connections with others in their field and related fields. Others don’t mind working alone and find they are able to focus better when not working as part of a team.
Freelancing isn’t for everyone and it's certainly not always easy or high paying. Learning the ropes, practicing and honing skills, building a portfolio and client base, networking, and working from the ground up is arguably more challenging, more daunting, and more physically, emotionally, and mentally taxing than just showing up to a 9-5. However, freelance work can be incredibly rewarding and fulfilling and it gives entrepreneurs the ability to make an impact on the world, and to enjoy what they’re doing.
That’s it for my list of 15 Misconceptions About Freelancing! Have you heard any of these misconceptions? Do you think they’re true? Why or why not? What are the misconceptions you have heard that aren’t on this list? Let me know in the comments! Thanks for reading!
Bibliography
Cagle, Brooke. “Freelancers meeting at a coffee shop.” Unsplash photo, November 26, 2018.Harris, Mikey. “Working from home.” Unsplash photo, June 5, 2020. (Thumbnail photo).Heftiba, Toa . “Working Space.” Unsplash photo, August 16, 2018.Venture, Elisa. “A business woman who is stressed and frustrated,” Unsplash photo, May 17, 2021.
Related Topics
Get Your FREE Story Binder Printables e-Book!Freelancing Basics15 Misconceptions About FreelancingEditing Misconceptions: Book Editors Aren’t Monsters20 Tips and Tricks for a Successful Email NewsletterHow To Submit Your Writing To—And Get It Published In—Literary Journals8 Reasons Why Having A Creative Community MattersThe Importance of Befriending Your Competition4 Of The Most Useful FREE Apps For Writers (2022)Payton's Picks: The Best Books On Writing BooksCheck out my other Freelancing posts!
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This blog post was researched, written, and published by a human author without the assistance of generative artificial intelligence (gen-AI). Gen-AI models are trained on text written by humans, therefore, the presence of specific punctuation, verbiage, tone, or predictable, marketing-style phrases alone are not sufficient indicators of gen-AI usage. I implore readers to use context clues, critical thinking, pattern recognition, research, and employ their best judgement when determining the validity of human authorship of print and digital media today. If you want to learn more about my stance on gen-AI and it’s role in media and the publishing industry, I plan to release a blog post on this topic very soon, so stay tuned for that. This disclaimer will be updated once that post goes live. In the meantime, I will continue to be transparent about which tools and resources I use in my work.
Young Adult Myths Debunked! 3 Massive YA Fiction Misconceptions That Need Clarification
Hi readers and writerly friends!
I’m back again this week with 3 YA Misconceptions that just need some clarification. So grab your magnifying glasses and sleuthing caps because we’re going debunking!
These are just a few widely-believed, yet completely false views on young adult fiction.
1. YA Fiction Is Free of Cursing/Swearing and Sex.
Totally False. 😂
According to the Chicago Tribune, “The most recent Gallup Youth Survey addressing the issue of swearing was published in 2001 and found that 46 percent of surveyed teens ages 13 to 17 used profanity at least several times a week or daily, while 28 percent said they heard their parents cursing a few times a week or on a daily basis.”
You can read more from the Chicago Tribune’s article “Youth Swearing: A Curse On the Rise” by Melanie B. Glover here.
Since most kids/teens come into their own way of speaking during their teens, it’s not completely out of the question that YA Fiction contains swearing. Most American teens swear so it makes sense that literature would mirror reality if not for the authenticity of depicting the real-life teenage experience, than to at least lend a hand to the relatability of a story and it’s characters.
However, this myth might have gotten its start from a subcategory of YA Fiction called “Clean Reads” which is named after and created by Clean Reads Press (Formerly Astraea Press). As per the Clean Reads Website, the press is proud to offer wholesome reading without compromise. They “don’t believe a story has to have profanity, sex, or graphic violence to catch a reader’s attention. Our stories – rich and vibrant with life – leap from the page, welcoming readers to a world they’ll remember long after the last words are read.” -Stephanie Taylor of Clean Reads Press.
Read more about Clean Reads Here.
While there are many wonderful written books out there that are free of profanity or mature content, sometimes readers prefer a little more sauce in their reading experience. This goes for YA Fiction as well. Similar to the presence of swearing in YA Literature, sex and graphic violence are also present there. Just because YA stands for Young Adult, doesn’t mean that it’s always intended for older kids and teens. Many adults read Young Adult fiction because of the key characteristics of the genre that are just not as prevalent in more notably adult genres.
However, writers expecting younger audiences to read their work should take care to not overuse F-bombs or involve too many details in sexually suggestive or graphically violent scenes in order to avoid limiting themselves. It is easier to market a more suggestive novel to upper YA and adult readers and more G-rated literature to lower YA and children readers. Much like the TV Content Rating system, the key difference in YA and Adult literature is the severity in explicit detail of sex/sexually suggestive scenes, violence, and amount of swearing. It all boils down to how the scenes are written.
2. YA Fiction Doesn’t Contain Heavy/Dark Subject Matter
Piggybacking on the first YA Misconception, many readers believe that young adult fiction is clear of any mention of heavy topics or dark subject matter. For whatever reason, many believe that because the seemingly angelic moniker might suggest the YA fiction genre is geared towards younger audiences that it can’t possibly be graphic, or violent, or involve discussion of taboo, difficult to breach, or problematic topics and this is simply just not true.
One prime example of this is Suzanne Collin’s Hunger Games, a dystopic YA novel in which children are forced to slaughter each other on the battleground in an annual event watched by millions for sport. Only, that’s not how its marketed, nor is it how it’s written. The thing is, the story breaches many hard-to-reckon with subjects and dark topics, but its all in the way these things are presented. It’s not like teens are reading explicit descriptions of children hacking and slashing at each other and imagining the overly-detailed images of the bloodshed they’re reading about—no, the story is presented as that of survival. Collins wastes no time on lengthy, bloodcurdling descriptions of child-violence. Instead, she gives the bare bones descriptions and spends more time on the pacing, emotions, character-building, and other story-telling elements that made Hunger Games one of, if not the most successful dystopian YA fictions of this decade.
Much like the use of sex/profanity/violence in YA literature, books geared for younger audiences can also contain dark/heavy subject matter. It’s all in the way it is written. Many of my favorite YA reads are pretty dark, but they key difference is that they are not graphic or overly-explicit.
3. YA Is Simple/Juvenile
Many non-YA-readers seem to think that—once again, due to the name YA—since young adult fiction is directed primarily at younger audiences, the writing must have to be “dumbed down” or simple for older kids and teens to absorb and understand. However, once again this is just another ridiculous misconception for the young adult genre. As a writer, one of the very first rules I learned was to “never write down to your audience” and instead, writers should write their stories exactly as they feel they should be told, and expect readers to rise to the occasion.
Many adult readers believe that YA fiction is juvenile and thus, “not quite as literary,” or not as deserving of the same merit as adult fiction. However, this view is more indicative of the readers than the literature itself. Readers who say this, must not be well-read in the YA genre and therefore are not as familiar with the higher level of writing common to most YA novels. Unfortunately, there are a decent amount of flashy, big-name novels that ruin it for the genre as a whole, and this may be where this misconception stems from. That being said, I can’t ignore the fact that this view is a broad-sweeping generalization that would likely have people believing it if more people read more YA fiction.
Additionally, some of the most beautifully woven prose comes from the YA fiction genre and many stubborn, ignorant adult readers are doing themselves a great disservice by avoiding the genre altogether because they’re worried the writing won’t be of a high enough caliber for their enlightened minds to consume. (That sounded petty, but it’s not, I promise.) The interesting thing is, nearly 55% of YA titles are purchased by adults, according to a 2012 article by Publisher’s Weekly:
“More than half the consumers of books classified for young adults aren’t all that young. According to a new study, fully 55% of buyers of works that publishers designate for kids aged 12 to 17 -- known as YA books -- are 18 or older, with the largest segment aged 30 to 44, a group that alone accounted for 28% of YA sales. And adults aren’t just purchasing for others -- when asked about the intended recipient, they report that 78% of the time they are purchasing books for their own reading. The insights are courtesy of Understanding the Children’s Book Consumer in the Digital Age, an ongoing biannual study from Bowker Market Research that explores the changing nature of publishing for kids.” -Publisher’s Weekly.
Read more from the article here.
If that wasn’t enough to convince you, that this misconception is completely unfounded, I should add that it really gets my goat when people use this as an excuse to avoid YA fiction. People who look down on the YA genre because its “lesser” or “juvenile” because it is geared for younger audiences are just uninformed and spreading a misrepresentation of the genre as a whole. Additionally, many adult readers seem to think that YA fiction is somehow easier to write and thus, sell due to this misconception, but I digress. YA is not dumbed down, and nor is it simple. There is plenty of beautiful, elegant, and complex prose within this genre.
And that’s it for my top 3 biggest misconceptions about the YA genre. Have you ever heard any of these misinformed views before? Did you think any of these were true? Did I change your mind? Let me know in the comments below!
Thumbnail photo by Element5 Digital.
—Payton
Everything Young Adult Fiction Gets Wrong About College
Hi readers, students, and writerly friends!
Payton here, back again with another installment of my college series. This week in Freelancing we’re covering a topic that overlaps between the bookish world and the college world—everything that young adult fiction gets wrong about college. This is going to cover every one of my biggest YA/college pet peeves from privilege, to unrealistic expectations, to overdone tropes and more so stay tuned!
Messy, unrealistic timelines
Okay, this might be the single most important issue I have with YA fiction that involves the college experience, so that’s why I made sure to cover it first. Students listen up! One thing YA gets very, VERY wrong is the college application/admission timeline and what happens when. I can’t tell you how many times I’ve read about a student getting accepted into Harvard in like February. It just doesn’t happen and it makes no sense. Writers who have characters in their novels that are in their senior year should do as much research as possible about the school(s) their fictional students are applying to so they can get a very clear and accurate picture of what that process looks like. Regardless of if all the details actually make it into the story, writers should make a timeline to keep everything organized and make sure their fictional events surrounding college take place within an accurate time frame. This is critical for fiction to stop perpetuating inaccurate stereotypes and setting unrealistic expectations for students.
Typically, early decision and early action happen in October and November and of course, those deadlines vary from school to school, which is why research is key. Not to mention, early decision and early action are two different things. Early decision is binding and basically means the student applying agrees to attend that school, should they get in and that’s why students are only allowed to apply early decision to one school. Early decision is also pretty much limited to very wealthy, upper class families, as it is a big gamble for applying students and be messy to navigate exiting these agreements when the school’s perception of your financial situation does not line up with your reality. Early action on the other had, is a far more accessible option because it is not legally binding. This is a great avenue for students who are interested in applying and receiving their application results early who might also want to apply to a few other colleges as regular decision.
Students who apply early decision/early action will receive admissions decisions typically in December, but some will hear back in January at the latest. Students who are passed up for the early decision/early action pools, may be deferred or moved to the regular decision pools which means their applications will be looked at along with all of the other non-early applying students. Regular decision students who apply to private universities will hear application results between December and Mid-January, though again, writers should double check these guidelines against the school about which they are writing.
Likewise, students who want/need merit-aid, many schools that offer this will send rejection/acceptance letters in November-Early December, but once again, writers should fact check deadlines for the school they are writing about to avoid perpetuating these harmful stereotypes in their writing.
Piggybank with coins. Photo by Skitterphoto.
Unrealistic expectations for scholarships, financial aid, and acceptance rates
Building on my first issue with college depictions in YA fiction, most young adult writers include inaccurate/unrealistic financial situations in their stories. Here’s an example: the poor, lower-class, yet brilliant student applies on a whim to Harvard and gets a full-ride. For one, Harvard hardly ever gives out full-ride scholarships. For two, if they did somehow get a generous scholarship, the remaining funds the student and their family are expected to pay are typically way out of the question for most lower/middle class families. And this goes for any ivy league or competitive private institution out there. For three, due to the competitive, elite nature of these types of schools, it is highly unlikely students can just apply and get in, no matter how brilliant they may be. And this unrealistic expectation is harmful because it pops up ALL. THE. TIME. And thus gives students the idea that they have a shot in hell at getting into one of these schools. It’s just a big set up for failure, crushed dreams, and a waste in application fees.
Additionally, most YA writers (due to the age bracket most YA writers fall into) don’t have a very good grasp on how much college really costs nowadays. I would argue that most YA writers are in their 30’s or older (with exceptions of course) and it’s been a little while since they last attended college for themselves. It’s amazing how much things can change in ten years.
In a 2019 CNBC article, Abigail Hess explains how the cost of college has increased by more than 25% in the last 10 years:
During the 1978 - 1979 school year, it cost the modern equivalent of $17,680 per year to attend a private college and $8,250 per year to attend a public college. By the 2008 - 2009 school year those costs had grown to $38,720 at private colleges and $16,460 at public colleges.
Today, those costs are closer to $48,510 and $21,370, respectively. That means costs increased by roughly 25.3% at private colleges and about 29.8% at public colleges. -Abigail Hess
Read more from Abigail’s article “The cost of college increased by more than 25% in the last 10 years—here’s why” here.
That’s an insane jump and truthfully, most writers don’t take these facts into account when writing YA fiction that involves the college experience. There’s a bigger issue here and it’s that YA fiction rarely takes into account the intersection of financial aid and class privilege and that’s because most YA writers are upper-middle class and never had to struggle to pay for college as a lower or middle class student. Class privilege is a huge reason why the college experience is not accurately portrayed in YA fiction and honestly, financial aid/scholarships are irresponsibly depicted as well.
What would be really great, is to see more portrayals of students applying and getting into state universities and community colleges. As a graduate from a local community college myself, it feels severely understated in YA fiction, especially since this is close to the reality most college students face. The acceptance rates at state universities and community colleges are much higher (mine had a 100% acceptance rate and a 90% completion rate) due to the dramatic difference in tuition, boarding an other costs per student, as opposed to the kinds of private schools we see more often portrayed in young adult fiction. Even though many state universities are still quite competitive, it would be really refreshing and great to see more YA fiction depict students attending state universities and community colleges, especially when the acceptance rate is far more realistic than the ludicrous 1% some of the ivy league schools are infamous for.
Student feeling stressed. Photo by Energepic.com.
Touching on the unrealistic timelines point, I’d like to include that many YA novels include depictions of students who apply to and get into a school and then start applying for scholarships. Unfortunately, by the time students should be hearing back from their desire schools, applying for scholarships is simply too late. Again, it’s important that writers do their research on their schools and make sure the realistically portray them in their writing. And on a similar note, many universities do not offer financial aid to out of state students so writers should keep this in mind when writing about college students crossing state lines for schooling.
Another financial discrepancy often found in YA fiction is the image of students going to any of the top 50 schools in the US and magically getting awarded merit-based scholarships. These schools are based on academic ability and therefore merit-based scholarships simply do not exist for students attending these schools. Instead, need-based scholarships are a possibility instead because the financial aid awards are divided out to applicants on a as-needed basis. Again, research is required here, because for the need-based awards, the school is the authority that determines the applicants’ need and every school has their own formula for determining what constitutes need. Likewise there is need-aware and need-blind schools where the former takes financial background into account while the later does not.
Student signing up for student loan debt to make college possible. Photo by Andrea Picquadio.
Loans and parent dependency
Since students aren’t technically considered (academically) adults until age 24, students are dependent on their parents and their finances will certainly play a roll in what kinds of awards, scholarships, waivers, and loans students can make use of during their college career. Due to this, unfortunately many students from middle-class families are unable to attend school simply because 1) the student’s parents make too much money for them to qualify for financial aid and 2) without the financial aid, the student’s parents simply do not make enough to pay for college while supporting the household. Likewise, this is an issue for students who have divorced, separated, or estranged parents, or parents who are unwilling to pay for college.
Unfortunately, because students are considered dependents of their parents until 24 years old, obtaining substantial loans may prove difficult or impossible due to the students need for a cosigner. Students are able to independently sign for a federal loan that is roughly $4500 max as a freshman and roughly $7500 max as a senior, which isn’t nearly enough to cover even one year for almost any college in the United States. Another federal loan option is the parent plus loan which has a much higher cap, but is contingent upon the parent’s credit and their willingness to take out such a loan.
The trend with all of these issues is that it all comes down to a lack of research, unrealistic expectations, and a failure on the writer’s part do their due diligence in preparing the background information needed to accurately depict the college experience. Writers who are covering the college experience in even the slightest degree, should do as much research as possible to prepare their writing. Writers can reach out to academic professionals to get more information as well. YA writers covering college in their novels should do their research so they can figure out which schools, under which conditions are actually attainable for their fictional characters.
And that’s it for my post on everything that YA gets wrong about college. What did you think of this post? Do you think YA could benefit from more research beforehand? Is there anything I left out? Let me know in the comments below!
Thumbnail photo by Pixabay.
—Payton
Oversaturation In A World of Overconsumption (There's No Such Thing)
In today's digital age, the notion of market oversaturation is challenged by the rapid consumption of media content. Consumers eagerly await new material from their favorite creators, often consuming content faster than it can be produced. This high demand indicates that opportunities abound for new creators to enter the scene. As Gary Vee noted in Matt D’Avella’s podcast, the fragmentation of attention across various platforms prevents overexposure. Therefore, aspiring content creators should recognize that the ever-growing appetite for fresh content diminishes the concept of oversaturation, making it an opportune time to share their unique voices.
Laptop displaying site analytics. Photo by
Carlos Muza.
This blog post was written by a human.Hello readers and writerly friends!
If you’re a returning reader, welcome back and if you’re new to the blog, thanks for stopping by! In this blog post we’re discussing oversaturation in the digital era, especially as it relates to content creation and social media. If you’re a writer, artist, entrepreneur, or content creator, you may have heard someone utter this quote before, or maybe you’ve even said it yourself: “The market is over-saturated.”
This statement has been discussed widely in many entrepreneur circles and how its a major roadblock in many people’s road to success. However, its just not true. Yes, the idea of over-saturation is a roadblock, but over-saturation doesn’t really exist, especially not in the digital era where over-consumption of media is a prominent part of society.
One great example of this is easily found in your own YouTube subscriptions. Most, if not, all of us have been in the scenario where we’re left waiting for our favorite YouTube creator to come out with a new video. If they stick to a regular posting schedule, then we know when to expect to see their videos out, but it doesn’t mean that in the meantime, we’re not eager for those notifications. This is also true for other social media platforms, primarily Twitter and Instagram.
Here’s the tea. There’s no such thing as over-saturation in a world where viewers and subscribers are consuming content faster than it is being created. Creators often describe the process for videos, podcasts and even blog posts such as this and the behind-the-scenes work that goes into crafting content that will only be viewed for a few short moments. It’s hard to think about pouring all of that time and energy into a project that might not even capture someone’s attention for more than a few seconds.
This isn’t entirely a bad thing, though. While it can be a challenge to create compelling content that will engage an audience in a world filled with hand-held distractions, it can also be an advantage. In this digital age, people are consuming content faster than ever. It only takes a few minutes to watch a YouTube video and even less time to read a new Twitter post, which means that consumers are devouring content so rapidly, that the demand for new content is at an all time high. If you’re going to start your YouTube channel or your motivational podcast, there’s no better time than now, to do it. Social media markets may seem over-saturated due to the vast amount of creators posting on platforms, but this industry is still in its infancy. Over-Saturation doesn’t exist.
Gary Vee even supported this argument on Matt D’Avella’s podcast, the Ground Up Show, episode 101. when he said, “…fragmentation of attention across all of these mediums has created a scenario where you can't have overexposure.” (D’Avella)
Let me know what you thought about this hot take on oversaturation! Do you think this is an issue that poses a real threat to influencers and content creators or is it more of a non-issue? Why? What do you think? Let me know in the comments below!
Bibliography
Muza, Carlos. "Laptop displaying site analytics." Unsplash photo, April 17, 2016. Accessed April 2, 2019.D’Avella, Matt. “Episode 101” The Ground Up Show. Access April 2, 2019.
Further Reading
The Ground Up Show is now defunct and has been replaced with The Three Rules PodcastCheck out episode 101 of The Ground Up Show by Matt D’Avella ft. Gary Vaynerchuck
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This blog post was researched, written, and published by a human author without the assistance of generative artificial intelligence (gen-AI). Gen-AI models are trained on text written by humans, therefore, the presence of specific punctuation, verbiage, tone, or predictable, marketing-style phrases alone are not sufficient indicators of gen-AI usage. I implore readers to use context clues, critical thinking, pattern recognition, research, and employ their best judgement when determining the validity of human authorship of print and digital media today. If you want to learn more about my stance on gen-AI and it’s role in media and the publishing industry, I plan to release a blog post on this topic very soon, so stay tuned for that. This disclaimer will be updated once that post goes live. In the meantime, I will continue to be transparent about which tools and resources I use in my work.
Editing Misconceptions: Book Editors Aren’t Monsters
Editors are often perceived as overly critical individuals fixated on finding every possible error in a manuscript. However, this portrayal is misleading. Editors play a crucial role in refining a writer's work, offering constructive feedback to enhance clarity, coherence, and overall quality. Their goal is not to criticize but to collaborate with writers, helping them realize their vision and produce the best possible version of their work. Understanding this collaborative dynamic can alleviate apprehensions writers may have about the editing process and foster a more productive author-editor relationship.
Black eyeglasses beside a notebook and candle. Photo by Marissa Grootes.
This blog post was written by a human.Hello readers and writerly friends!
If you’re a returning reader, welcome back and if you’re new to the blog, thanks for stopping by! In this shorter blog post I’m explaining some of the most common misconceptions surrounding the world of manuscript editing. Many people tend to think of editors as the snobby grammar police with their red pens, monsters bent over their keyboards ravenously devouring manuscripts in search of every possible formatting or grammatical error.
Okay, maybe that’s not quite the image that comes to mind or everyone, but editors are often painted in a less-than-flattering light, because many aspiring authors just don’t know how to take constructive criticism. However, these depictions are just simply not true. I was a writer before I ever became an editor, so I am distinctly aware of how hard it can be to share your work. It’s your passion project, your lifelong dream—your book baby. It’s precious to you, and the idea that you’d entrust it to someone else’s eyes is nearly unthinkable. It’s also brave and an essential step in the writing process and your growth as a writer.
Editors are not in the biz to tear your manuscript and your dreams to shreds. Yes, there might be some uncomfortable things that need to be addressed in the process of editing your manuscript, but editors aren’t here to just shoot you down, they’re here to help you.
Think of it this way, for an effective editorial process, writers must view their editors as their partners. Editors are like those friends that tell you about the lipstick on your teeth rather than letting you walk around with a red smudge on your pearly whites all day. Those friends are looking out for your best interests and your editor is doing the same for you and your writing.
You may not always want to hear the comments editors make, but ultimately, we’re here to help you. We want to see you succeed. We want you to be able to connect with your readers. We want to watch a beautiful creation emerge and to see your passion project come to fruition.
Editors are often perceived as overly critical individuals fixated on finding every possible error in a manuscript. However, this portrayal is misleading. Editors play a crucial role in refining a writer's work, offering constructive feedback to enhance clarity, coherence, and overall quality. Their goal is not to criticize but to collaborate with writers, helping them realize their vision and produce the best possible version of their work. Understanding this collaborative dynamic can alleviate apprehensions writers may have about the editing process and foster a more productive author-editor relationship.
What did you think about this hot take on editors? Do you agree or disagree? Let me know in the comments below!
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This blog post was researched, written, and published by a human author without the assistance of generative artificial intelligence (gen-AI). Gen-AI models are trained on text written by humans, therefore, the presence of specific punctuation, verbiage, tone, or predictable, marketing-style phrases alone are not sufficient indicators of gen-AI usage. I implore readers to use context clues, critical thinking, pattern recognition, research, and employ their best judgement when determining the validity of human authorship of print and digital media today. If you want to learn more about my stance on gen-AI and it’s role in media and the publishing industry, I plan to release a blog post on this topic very soon, so stay tuned for that. This disclaimer will be updated once that post goes live. In the meantime, I will continue to be transparent about which tools and resources I use in my work.