Got an email recently from a reader with a concern (and frustration…) we’ve all come up against at some point in our commercial writing careers. He wrote:
The challenge that’s just unnerving me is how to shift prospects’ minds from thinking they can do the writing themselves instead of paying a commercial freelancer $100+ an hour to do it. What would be the best way to create a brand that would neutralize this kind of thinking on the part of prospects?
Got a similar question posed to me by one of my group coaching participants:
What’s the best way to approach an industry that often relies on in-house engineers to write its copy? Should I try to convince them that a good writer is a better choice than an engineer, or could I instead offer editorial services in these cases?
Here’s an aggregate response to the both of them. There are two ways to approach this issue and both have merit.
#1: A question immediately comes to mind: Why are you wasting your time trying to convince people who don’t think they need a professional writer, to start using one, rather than finding those clients who understand the value of good copywriting and already use writers, or, at the very least, are open to hiring one?
In one of my books, I talk about The Salad Dressing Rule (explained by a fellow freelance commercial writer friend):
If you sell salad dressing, it’s far easier to convince someone who already eats salad to try your dressing than to convince someone who doesn’t eat salad at all that they should start doing so.
In both cases, these folks are finding people who “don’t eat salad.” So, using the prospecting strategies laid out in the book, start barking up some different trees.
Bottom line, you can’t convince those who are convinced otherwise, unless you get them to try you out and they see the difference a commercial copywriter can make. Which leads to the second approach…
#2: As many experienced copywriters have noticed in their travels, getting a prospect to understand what we do by trying us out will often make converts of them (assuming we’re good at what we do, and understand that particular client’s business). As such, in the case of the engineering firm (or ANY prospect who’s hesitant to hire you to execute a writing project from scratch), yes, maybe you offer editing as a door-opener.
If the client has an epiphany (and I’ve seen it happen plenty) based on the editing, maybe they’ll try you out right from the get-go the next time around. All you can do is offer. If the client isn’t receptive, move on. If you’ve had other clients start out as they did and become converts, make sure you’re getting testimonials from them and share those with the hesitant ones…
(NOTE: this is where building alliances with graphic designers can really help. Designers hate designing around crappy copy and ending up with a sample that looks great but reads like doo-doo. So if they have a client who’s written their own copy (and it shows), and you’ve built a partnership with that designer based on delivering superior copy that makes their design shine, they’ll often try to persuade the client to hire you, knowing the client will end up with a more effective piece, which can only reflect well on them. Not to mention they get a stronger piece for their book. In those cases, you’ve got a third-party doing the selling, which can be more compelling. Doesn’t always work, but when it does… There are few things sweeter than seeing an erstwhile skeptical client find religion after seeing professionally written copy that positively puts theirs to shame.)
All that notwithstanding, the “try-a-taste” approach is still going to be harder to pull off than finding those already inclined towards folks like us. If you’re in a smaller-market area, and trying to build your freelance copywriting business there, it might prove a necessary stepping-stone to cultivating serious clients. If, however, you’re in a major metro, you might not need to beat your head against the wall; there WILL be plenty of prospects who do “get” what we do. Not saying they’re easy to find, but likely easier than trying to get the others to “start eating salad.”
Do you only pursue prospects already sold on the value of professional writing?
Or do you try to do some converting along the way?
If so, how have you gone about getting them to try you out, and has it worked?
In a tough market, should we be investing more time in “educating the unsold” or do you feel it’s still largely a waste of time?
Recently got an email from a new commercial writer up North. All you experienced folks, if you’re like me, you’ll be saying, “Oh, just let me at this guy…” She wrote:
I’m writing a web site for a logistics company, a family business run by a nice guy in his early twenties. It’s my first job as a freelancer commercial writer, although I have quite a bit of experience as a copywriter at an ad agency. Here’s the deal:
Sent the initial agreement outlining that three revisions are included; any over that amount, I charge for. Sent initial draft. Client says they’re happy with it; suggest few minor tweaks. “Awesome,” I think. Make changes; send second version. Client sends back a few more minor changes. “Easiest first client ever,” I muse.
Third version I send, emphasizing “Let’s look this over, make sure everything looks great, and I’ll proof for grammar, punctuation, etc., and we’ll call it a day.” Client responds, “Great. I’ll just send it along to our consultant and we’ll get back to you.”
(Sound of brakes screeching). “Um, okay…”
I wait nervously for a few days before emailing client. I’m told he and the consultant are still making lots of changes. Wait a few more days; told they’re still making changes. Finally, not knowing what’s left of my copy, I insist on having a phone conference with this mystery consultant, who turns out to be a very confrontational and opinionated attorney, who not very nicely attacks me for all manner of grammatical transgressions.
According to him, the lead’s been lost in a pile of blah-blah-blah. He wants everything stripped down to bare facts. In short, he is a writer’s nightmare. And I’m a new twenty-something commercial copywriter, eager to please my first client, and totally intimidated by gruff, fifty-year-old lawyers.
When I ask my client why the sudden change, his response is merely that his consultant pointed out a lot of things to him.
My question: We’re still technically on the third round of revisions, although the “revisions” are adding sections, removing sections and making very significant changes. The client doesn’t want to get back to me and give the OK on this last round because I think he believes as long as he’s within the three rounds of revisions, the sky’s the limit on making changes.
How do I diplomatically communicate the scale of changes permitted? How do I prevent this from happening in the future? How do I avoid both pissing off my first and only client and being a sucker who’s doing work for free?
Whew. Doesn’t that story just make you want to shine up your brass knuckles? Of course, she did make a few newbie copywriter errors. Like not determining up front all the folks who’d be approving copy. Honest mistake, and one of those “hindsight-is-20/20” things. Been through many projects where I didn’t think to ask that and it never turned out to be a problem, but had there been a hidden butcher with machete and red pen lurking in the shadows, I’d have been hosed.
And no question, when starting out (and young, too boot, and easily daunted; we’ve all been there), and have a great gig going with a first client, you really do want to please. All things considered, she got paid, learned some valuable lessons (far more than she’d have learned on a smooth-sailing gig), and will be that much more prepared next time.
One thing that’s a no-brainer is the whole idea of expanding scope of a project. Not sure whether they spelled out the project parameters on the original agreement. But, given how she agonized over saying anything once the thing began spreading in all directions, I’m guessing not. Big mistake.
If you make it clear upfront, in writing, that the project includes X components – X # of pages, for X fee, then as soon as things start expanding beyond those stated specs, then it’s a simple matter of saying, “Things have changed, and the fee needs to be renegotiated.” No need for hesitation or angst. The client agreed to a certain sized project for a certain fee, and it’s now grown beyond that. End of discussion.
Being completely matter-of-fact about that is crucial to preserving your status as a professional. And it should happen regardless of whether it’s your first client or your 1000th. If you had a plumber over to fix your sink and you asked him to fix that leaky toilet upstairs while he’s here, you’d never expect him to do it for nothing. So, why would you think for a nanosecond that clients are entitled to freebies? They’re not.
Another non-negotiable point for any professional is how you’re being treated. If someone starts with snide remarks, confrontational, belligerent tone, or insulting manner in any way, I’m going to say something. Anyone who does that honestly believes you’re little more than “The Help,” and as such, can be talked down to. I once told one such a client, who the hell he thought he was, talking to me that way. That went over well. I ended my participation at that moment, walked away, and got paid for my time.
Got this update from our beseiged copywriter:
“I wish I could say I’d come up with a brilliant way to resolve the situation, but it really amounted to a combination of contributing many more hours than I’d planned on (thus losing money) and finally, drawing the line and telling the client I’d have to adjust the quote before making any further changes.
“Trying my hardest to diplomatically plow through numerous revisions was what kept my relationship with the client from souring. (At the project’s completion, he enthusiastically volunteered to be a reference for me.) But whether the situation was resolved successfully is debatable. I succeeded in making the client happy, but lost money and watched some great copy turn into something I’m not as thrilled to put my name on. Live and learn.”
Ever found yourself dealing with a similarly unpleasant individual? If so, what did you do?
Any other suggestions to head off problems like these?
When you were starting out, how did you balance your desire to be accommodating and customer-oriented with the need to not become a doormat?
And if you didn’t manage that well (and many of us didn’t!), what did you learn from the experience?
So, I’m in the midst of series #5 of my commercial freelancing group coaching program (as I write this) – geared towards business copywriters just starting out. Not surprisingly, one of the BIG bugaboo issues for newbies is “niche.” Seems you can’t spit these days without hitting a guru or two who’ll adamantly assert, chopping the air for emphasis, that you absolutely, positively must differentiate yourself in the marketplace by way of a well-delineated niche.
If you don’t, they’ll continue, you’re on a one-way road to professional oblivion (with financial ruin swiftly on its heels). So many new copywriters agonize over this one, so afraid to hang out a shingle without a laser-specific professional focus. Sorry, but as an across-the-board strategy, I don’t buy it.
(Note: we did touch on this subject a year or so ago in the Generalist vs. Specialist debate, but I’m taking a bit of a different spin here, and looking for slightly different input from you experienced folks).
Here’s my take: If you have a well-defined niche you can pursue, by virtue of past career experience, track record or education, by all means, go for it. Having a niche absolutely can set you apart – AND earn you more money. Even if you don’t have a big portfolio of work in, say, Industry A, if you know all about Industry A by virtue of 10-20 years in the business, you’ll be attractive to writing buyers in that industry (who’ll translate that experience into “minimal learning curve”…).
Even if you hate the field in which you’ve spent a decade or two, if you’re trying to get started as a commercial copywriter, I’d still recommend you leverage that experience out of the gate. You don’t have to write about it forever, but it’d be nuts to not parlay that into work until you get established.
Remember, even if you don’t love your industry any more as a field to work in, writing about that field from the comfort of your home in your sweats is a whole other ballgame from having to go to work every day (i.e., commute, endless meetings, office politics) in that same field in a job you loathe.
But what if you don’t have a 10-20-year track record in some field? Listening to the experts, you still need to create a niche. But what niche? Pull one from thin air? Flip a coin? Declare yourself an expert on X, but without the background, training or samples to back it up? What’re you going to say if someone asks for those samples? I’m afraid I just don’t see a whole lot of sense in that approach. If a niche isn’t occurring naturally to you, it’s probably not there, so don’t force it.
So, Plan B is to build your business sans niche as a generalist. Something I’ve been doing for 17 years, incidentally. Sure, I had a sales/marketing background, and I did make sure people knew that, but most of the projects we commercial writers do are marketing-oriented anyway, so is that a clearly defined niche? Debatable.
Sure, it’ll be tougher with little to leverage. But, if the alternative is touting yourself as an authority in an arena where you’re really not, I say the anxiety level with that scenario will likely top that of someone going niche-less. And in the latter situation, if you’re a really good writer and go out of your way to be overly professional, reliable and easy-to-work with, those things will set you apart (assuming you’re reaching enough people with your marketing efforts).
What’s your take on niche?
How important do you feel having a niche is for someone starting out?
Did you have a niche when you began? If not, how did your story unfold?
Do you feel strong writing skills, professionalism and reliability can be a “niche” of sorts (given how relatively rare they are)?
So, I get my monthly cell phone bill from Verizon (yeah, I’m naming names; maybe someone will forward this to them and they’ll get their act together…). So, in it were a few of these slick little inserts. One of them had this headline: “Get Mobile Broadband on the Nation’s Largest 3G Network!”
The copy went on to explain how I could get “lightning-fast Internet access” which would allow me to check email virtually anywhere. Hmmmm. Interesting. Sounds like something worth having. Let me go check it out…
So, they give a web link: www.verizonwireless.com/upgrade (yes, feel free to follow along in this exercise in futility just so you know I’m not making it up). OK, so while I’m a good commercial copywriter, I don’t exactly consider myself some “Landing Page Copywriting Guru” by any stretch. But, I know this much:
If you provide a link on a mail piece, email blast, or ad that purports to offer more detail on Widget A described on said mail piece, email blast, or ad, then make sure the link provided indeed takes them directly to a landing page providing more detail on Widget A.
Is this complicated?
So, click on over to the above link, and see what happens. Not a word about “Mobile Broadband.” They make me log into my account (first chance for me to lose interest). But, I’ll play along. I log in, and at next screen? STILL nary a peep about “Mobile Broadband.” Now, they’re asking me irrelevant questions about upgrading my phone.
It’s clear to me at this point that if I want to find any more information on Mobile Broadband, I’m going to have to go searching their site, which I have no interest in doing.
But get this: even if I was sooooo interested I was willing to do a site search for “Mobile Broadband,” you still basically get nowhere. One link takes you to a more detailed description (finally), but still doesn’t tell you how much it costs, nor provide further links to find out that info.
Who in the world is minding the store over there, for crying out loud? Just because there’s a big name on the door doesn’t mean they know what they’re doing. Examples like this are everywhere. Corporate marketing communications departments are often good at the big picture and are great at cranking out pretty stuff, but they’re often under such pressure (and I’m sure more so now than ever before) that a lot of the crucial “execution” details fall through the cracks.
It just underscores two things: 1) don’t put big companies on a pedestal as having it all figured out; and 2) there are a vast number of opportunities out there for commercial freelancers like us to help them clean up their act.
Why do you think so many companies get this stuff wrong so much of the time?
Have you come across similar examples like this? If so, can you share?
Have you been intimidated by big companies in the past, only to discover that they’re mighty flawed and human after all?
Pricing our commercial freelancing work. How do you do it? Me? I became a convert to the Flat Fee Channel (“All flat fees, all the time…”) some time back. Rates are best quoted within the context of a particular project. Tell a client your hourly rate is $100, without relating that rate to a specific job (he’s thinking, “Is it going to be 5 hours or 50??”) and he might just run screaming into the night. But say $1000 for a project you think will take 10 hours, and if that’s close to what he’s budgeted for the project in his mind, then you’re in business. An hourly rate, in my humble opinion, should be a number kept to yourself, and used only for internal calculations.
All that said, the debate still goes on. Last week, got the latest piece from wildly successful Atlanta commercial freelancer Ed Gandia. Ed’s the publisher of the great ezine, The Profitable Freelancer (visit and subscribe at no charge). Ed did a great two-part piece for my ezine in June and July of this year about how he made $163K in his first full year as a commercial freelancer.
Ed’s latest piece was entitled “What’s Best: Hourly or Flat Fee?” Check it out (it’s short) here before reading the rest of the piece. Here was my response to it:
Ed: I have found precious few commercial writing clients willing to even let you quote on an hourly basis if they don’t know you. That’s almost exclusively reserved for long-term clients who trust you implicitly, and/or for projects that have, by definition, an undefined scope and fluid parameters, that simply don’t lend themselves to being firmly nailed down. Not sure how one would even go about trying to force an hourly-rate approach on a client. For most commercial freelancers, in my experience, the more important issue is do you quote a straight flat rate or one that reveals your calculations (i.e., “$1500” vs. “$1500 based on 15 hours at $100 an hour”).
The former is the better approach, because as you point out, if you work fast, and finish the project in, say, 12 hours, you’ve just upped your hourly to $125. And as you also point out, the client only cares about the final result. As long as you get it done for the amount they agreed on, then, technically, they don’t care if it takes you 1 hour or 50. If you share your internal calculations, then if it takes you less time, technically, you should charge less. Going with a flat rate focuses the whole discussion to the end result, which is the only thing that really matters.
Just as importantly, the flat-rate approach has the subtle but powerful affect on you, the commercial copywriter, of further “professionalizing” what we do. We’re being paid to deliver a professional service for a fee. We’re not an hourly worker punching a proverbial clock. And I say that same distinction isn’t lost on the client either, who’s more likely to view you as that professional and worthy of your fees.
Also, just a note about flat fees. I’ve found over the years that a range in your quote that varies by 10-15% is acceptable to most clients. Haven’t had any pushback from a client ever. Generally speaking, by agreeing to a quote of, say, “$1500-1700″ or “$4500-$5000,” clients have reconciled themselves to the upper end of the range, and because the two figures are close, it’s not a problem. But it gives you a bit of extra wiggle room for unexpected surprises, which if you have a cushion, you may not have to even charge for. And that’s good for client PR (though if there IS extra time involved, and you don’t charge, you might let the client know that you usually would but won’t this time. That way, you don’t establish a dangerous precedent by having them think that such an M.O. is standard, which it definitely isn’t).
AND, if you end up below your upper end, which has often happened for me, and charge a bit less, it’s a nice surprise for clients, who can’t help but notice you were responsible and frugal with their money. If you suspect money isn’t the #1 issue for a client, I might even suggest one bump the top end of your fee range a bit beyond what you know it’ll take, so you can in fact, ultimately charge less than the upper range so as to make that good impression.
How do you price your work?
Have you had unpleasant experiences quoting hourly rates in a vacuum (i.e., minus the context of a particular project)?
Do you have clients you work with on an hourly basis, and if so, what’s the nature of the relationship and the work?
Any insights you’ve learned about pricing work you care to share?