"A machine doesn’t have your experiences or your perspective, and can never truly replicate a human voice."
Today's Writer's Insight from Rachel Meghan.
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Today’s writing and media opportunities span public media, poetry, science, biotech, art, and culture—plus speculative fiction and essays paying up to $2,000 per project.
We’ve also got new freelance roles in journalism, copywriting, editing, and creative or technical writing range from local reporting and brand strategy to grant and medical communications.
Today’s Writer’s Insight: Rachel Meghan
For today’s edition of writer’s insight, I had the pleasure of speaking with Rachel Meghan, a freelance writer based in Providence, Rhode Island.
Rachel Meghan (they/she) is a mother, bookseller, and freelance writer. They have been featured in Rue Morgue, Business Insider, Poynter, Vulture, YourTango, and others. Rachel loves horror movies, musicals, weird books, their cats, and their family.
You published your first byline at just 15 years old, a cover story for Blood and Thunder. How did you get into freelance writing so early, and how did it feel seeing your name in print?
I was part of a junior roller derby league, and was very entrenched in the sport at the time. Blood and Thunder was the main roller derby related publication out there. I noticed that they had never covered junior roller derby in their magazine, so I took a chance and pitched them. I distinctly remember writing the article in my school’s computer lab and feeling like a “real” writer for the first time. Much to my surprise, it became the cover story of the issue I was in, and my photo was on the cover! My mom had me sign several copies at roller derby events. It was such a thrill, and a high I am still lowkey trying to chase.
What drove you to pursue a career in freelance writing so young, and who or what supported you at that time?
When I was in fifth grade, I wrote and edited a newsletter for my class. It wasn’t an assignment, just something I wanted to do to flex my writing muscles. My mom helped me with formatting and printing, allowing me to use her office’s printer, and I would distribute them every quarter. I was very influenced by Lisa Simpson and Harriet the Spy, and knew early on as a precocious kid that I wanted to make writing my career.
I wrote the Blood and Thunder story at 15 and wrote my first pieces for Rue Morgue a year later. My parents were very supportive. I’ll never forget my father telling me I had a “way with words”, and encouraging me to continue writing as I got to college.
As a regular reviewer, what advice would you give to writers wanting to break into this niche? How do you structure your approach when sitting down to review a book or film?
I really think that if you choose a niche that you already have a passion for, it makes the work so much more fulfilling. I love reviewing horror and books because I love horror and books. It’s an excuse for me to ramble about my interests, and it allows me to explore my own taste in the genre, what I like and what I don’t. Even if you don’t have a regular gig, write reviews anyway. Start a blog, write on Substack, even Letterboxd. Get really good at it and have a portfolio to show when it’s time to pitch to editors.
I like to take notes while I watch a film or read a book, basically brain dump every thought that comes into my head while I’m taking in the media. Then in my first draft, I streamline the thoughts, organizing them in a way that makes sense. Follow your instincts, make connections, and be very descriptive. Nuance is also a very good skill to have as a reviewer.
Walk us through your writing process. Do you have a set routine, or does it vary depending on the specific project?
I’m kind of chaotic with my writing process. I’m a big fan of sitting down and just letting it all out in one go, doing a draft in one sitting and allowing my thoughts to flow. It took many years of practice and discipline to get to that place, but it’s not impossible. I don’t really have a set routine with it, although I am a big fan of having a pocket notebook to sort my thoughts and make to-do lists before I jump into writing.
Oftentimes, I like to jot my notes in a pocket notebook, and then do a first draft by hand in a larger notebook. Then, when it’s time to type it, I’m automatically editing it as I go. It’s kind of like sculpting in a way, chiseling out what you’re trying to say in a set process. Mostly, I’m just happy to have time to write whenever I can, due to being a mother.
Balancing motherhood, bookselling, and a freelance writing career is no mean feat! How do you carve out the time and mental space for your work?
I’m lucky to have a very well-behaved, sweet son, who sleeps when he’s supposed to and doesn’t make a fuss. I don’t know how I got so lucky, but it makes a huge difference in my writing. Of course, any two year old is a handful, so when he’s awake, he’s my first priority. I mostly write when he’s down for his nap (two hours, like clockwork), or after he’s gone to bed. I also highly recommend getting an extra large playpen for your kid and filling it with toys- that keeps him busy and allows me a few minutes to send some pitches.
I mostly only do bookselling on weekend nights, so it’s a part time job that fits into my schedule. My job always has authors coming and going, with many book events happening on any given week, so I get to be around other writers and get their advice. Rachel Yoder, one of my favorite authors, came in a few months ago, and her talk was invaluable to me as a writer. It’s a very inspiring job, and oftentimes I’m allowed to catch up on writing when the store is slow, which is a big help.
Do you have a go-to pitching formula or structure that works consistently for you?
My usual structure is to introduce myself, list off a few of my bylines, and jump into a well-written pitch that could only come from me (NEVER AI!!!). I think finding an angle to any story you pitch is crucial, something that your brain came up with based on your experiences that no one else could write. Editors like different perspectives and writers who know what they’re talking about. Establish yourself as an authority on your subject, even if you have no bylines yet, and write with confidence.
Also, make sure to use the editors name in the email if it’s available, that makes a world of difference.
What’s the biggest mistake you see other writers making when pitching, and what do you do differently?
Copy and pasting pitches to different editors. Don’t do this! I used to just blindly copy-paste my pitches to numerous emails, and let me tell you, editors can tell. It’s best to take a look at the publication you’re pitching to and get a feel for their voice, and tailor your pitch to suit their voice. You may have the same pitch for two places, but they might benefit from being looked at from different angles based on the publication you’re pitching to.
Also, again, please don’t use AI for anything involving writing! As someone who has been in the writing business for sixteen years, it breaks my heart to see so many people outsourcing their brains to a soulless machine. A machine doesn’t have your experiences or your perspective, and can never truly replicate a human voice. Editors can always tell, and they can’t be fooled.
How do you decide which publications to target for a particular piece? Do you find ideas to fit a publication, or find publications based on your ideas?
It depends. Sometimes I’m jotting in my pocket notebook and come up with an idea, and then I find a publication it works for. Other times I find a publication, research it, and come up with an idea for it. Regardless, I use the Freelance Writing Network religiously, and try to put out three pitches a day based on what editors are looking for. It usually ends up being more.
Just keep pitching, and keep experiencing your non-writing life to get more ideas. There is inspiration everywhere if you look for it.
You can read more of Rachel’s work on their Substack and through their clippings.
