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Run Into This Promising (and Increasingly Common) Client Scenario Out There?

So, I was talking the other day with one of the graphic designers I’ve collaborated with in my commercial writing business for years. She’d recently picked up a new client – a big company selling something people have to have, and targeted to a specific demographic – one that’s been making money hand over fist the past few years.

While happy to get the new work, she’s been frustrated with them of late. They’ve been so busy growing they haven’t had time to sit down and discuss strategy, despite having a ton of projects (some of which will require copywriting) they need to get done. They just rented a huge booth at an industry trade show and told her they wanted her to redesign all their signage – along with direct mail and promo materials.

She wants to bring me in as soon as she can sit down with them and get a laundry list of projects (and accompanying commercial writing needs). Oh, and they’ve got plenty of money. Folks like these are dream clients for solo practitioners (i.e., commercial freelancers and designers). They’re out there and market realities are having them show up more and more on my radar and that of folks like my friend.

Prior to contacting my friend, the client had been working with a small ad agency going through meltdown. They couldn’t get ahold of people at the agency – which had laid off a bunch of folks – and the work wasn’t getting done. Now, if there was ever a situation where a talented freelance writer/designer team could save the day AND save them a bunch of money, time and aggravation, this was it.

This is becoming a more common tale in this economy. Even if an agency isn’t going under, just the fact that their high-overhead economics require them to charge far more than a copywriter/designer team would, is enough to have clients question those bills and try to find lower-priced alternatives. But, they have to feel they can get the same or better quality from a few solo operators in order to feel comfortable making the switch.

So, the opportunities exist. But they won’t drop in our laps and those we do find out there will require solid writing skills, strong marketing chops, buttoned-up presentations and absolute professionalism. But we have one BIG thing going for us: these clients WANT to believe we can solve their problems – they don’t want to hunt any longer and harder than they have to.

Have you run across any scenarios like these? New clients who’ve dropped sinking (or pricey) agencies to go with freelancers (you or someone else)?

If you have, how did it unfold?

What did it take to give them the requisite comfort level to move forward?

If you haven’t landed any new clients in this way, can you see some possibilities in your network?

Are you partnered with a graphic designer or two, and hence, positioned to capitalize on opportunities like these?

Ad Agency’s Solution to Client Pulling Work In-House Sounds Like the Freelancer Model…

It’s inevitable in an economic downturn. Clients using pricey creative agencies dump them and pull the work in-house. OR outsource it, as we’ve happily discussed in this forum (and elsewhere: check out the GREENS course at this link) to a more economical, low-overhead writer and designer team.

Well, thanks again to commercial freelancer Robin Halcomb (who steered me to a cool resource I included in a comment on my last post) for bringing a most intriguing article to my attention. Entitled “In-house and Outsourced Aren’t the Only Options for Your Clients,” and penned by Sharon Napier, the piece first appeared in Advertising Age on 11/2/09.

The premise was simple – and one with all sorts of positive implications for folks like us. Napier, an ad agency professional, established the challenge:

Losing business because a client takes its work in-house can be a very frustrating challenge for a shop that’s put its heart and soul into coming up with innovative ideas. But what agency folks sometimes forget is that a client’s decision to go in-house usually isn’t driven by creativity or quality of work, but instead by the need for a new operating model, lower costs or faster turnaround. We didn’t want to stand by and watch our clients take that work in-house, nor was it in their best interest for us to try to force-fit it into our standard agency model.

Now, read this next part about her proposed solution to this quandary, and tell me if it doesn’t have a familiar ring…

So, a few years ago, we created a second model, one we call the “in-house outsource,” or studio model. How does it work? Like a traditional model, the clients have a dedicated team to serve their business, one that’s steeped in the client’s brand guidelines, process and work flow. However, for the studio model, the process is streamlined.

There are no account executives or trafficking positions; clients work directly with a designer who is responsible for every aspect of the project, from the first request to the work getting out the door, much like having an on-staff designer. The studio team works as an agency within an agency — it has its own leader, its own process, its own job description and career path.

Sounds a whole lot like a simple freelance copywriter/graphic designer team, no? Napier describes a model that meets a client’s need for lower costs and faster turnaround – something many clients in our world have been getting from talented writer/designer teams for a long time.

So, these creative pros know what clients want and have started bending their business model to deliver just that. With us? No bending required. That’s already who we are. And this new evolution on the part of agencies just reaffirms – in case you had any doubts – the fundamental legitimacy of the freelance model.

Of course, Napier’s premise appears to cover several scenarios: 1) clients pulling in-house ALL the business they’re doing with an agency; or 2) clients pulling certain pieces that many agencies long ago deemed not worth pursuing.

As I’ve pointed out in The Well-Fed Writer, while we commercial writers are unlikely to pick up the high-profile branding work from Fortune 500 firms that’s been the domain of Big Advertising (mainly because, let’s face it, the typical writer/designer team can’t deliver everything a full-service ad agency can…), we can certainly cover the, 1) the “collateral” projects agencies don’t want or aren’t set up to handle; and 2) branding work for relatively smaller firms with the bucks to hire that agency, but which are now tightening their belts.

Of course, Napier’s unspoken message – one that can’t help but elicit a smile – is this: Given the client exodus many in our industry have experienced of late, we can’t afford to be as elitist as before. Translation: We need to figure out how to hang on to this business we previously turned up our noses at. And give them credit for adapting successfully, as Napier’s firm certainly has.

Though you have to wonder whether Napier’s clients, once they get a taste of the lower-priced, streamlined business model on some of their work, don’t start wondering – however illogically, perhaps – why that same model can’t be applied to their other work. Something we commercial freelancers, given our cornerstone value proposition, will never have to wrestle with.

Have you run into a similar scenario with your business?

Have you benefited from a client’s belt-tightening to replace a more expensive creative resource?

Have you approached creative firms (e.g., ad agencies, marketing design firms, etc.), to pick up work they don’t want to deal with (and haven’t adapted to be able to handle)?

Is this giving you ideas you hadn’t previously considered?