Freddie deBoer is pretty tired of the freelance-writing merry-go-round:

I just find, at this point, that the process of pitching, composing, shepherding through edits, promoting, and trying to get paid sucks the life out of me. The commercial interests of publications require editors to ask for things that are tied to the news cycle in the most facile way imaginable. I get it, and I don’t blame them personally. But I’m opting out. And it’s increasingly hard for me to explain to editors what I want a piece to do and say without writing the piece. I’m just really not interested in the “beats” of a piece of nonfiction anymore; the argument, in the sense that people traditionally mean, is just about the least interesting aspect of nonfiction writing. So when asked to reduce my own prospective writing to a series of explicit moves, I’m forced to fixate on the parts that I find least interesting or valuable. What I want is to write in a way that is free of precisely the kind of paint-by-numbers literalism that editors require. Again, not a knock on them. It’s just not in my interests anymore.

Meanwhile, the money generally sucks. I am very grateful for the LAT [Los Angeles Times] publishing me in their print edition, for example, and I knew what the rate was going in. But writing and editing a thousand-plus word piece for one of the biggest newspapers in the country got me $200.

Twice as much as I made the one time I wrote for the LAT! Though that was some years ago.

Here’s the way the game works: You should write newspaper pieces for peanuts because that will bring you to the attention of the monthlies, where you should write for peanuts because that will bring you to the attention of the trade publishing houses, who will give you a contract that over the course of your book’s life will pay you, if you calculate the hours you spend writing, well short of minimum wage — but that’s okay, because your book will bring you to the attention of the newspapers.

It’s not always like that, of course. Harper’s pays very well, and I have had two or three pretty significant book advances in my time. But all too often, yes, it’s like that. And this is writing for print! — the lucrative side of the business!