Tag Archive for: commercial freelancers

This Writer’s Landing a Ton of Work Doing What So Many Companies Need…

Caught up with a commercial writing chum of mine on the West Coast recently (we’ll call him Joe). He told me about all the work he’s landed with his latest client. So many good lessons for commercial writers in his story, I just had to share it.

Joe landed the client through a friend. Do your friends know what you do and your specialties within your profession? If not, they should…

Anyway, a marketing director with a one school of a larger university system (yes, I’m obscuring some identifying details) mentioned to a mutual friend that she needed some proofreading and editing done, and Joe’s friend suggested him. Joe and the client spoke, hit it off on the phone, quickly realizing that he lived in the client’s hometown. The proofing/editing gig ending up falling through, but the good rapport they’d developed had the client call Joe back when some new work came up.

It’s important to note that her hiring Joe was arbitrary and based on little more than he was a writer she’d crossed paths with and with whom she’d hit it off (Remember: clients don’t want to spend a lot of time hunting for a writer). But, much to the client’s delight, Joe’s background – which they hadn’t previously discussed in depth – was a perfect match for the new gig: helping with their new content marketing strategy, to which they’d committed a healthy budget. CM is becoming a popular approach for companies trying to position themselves as “thought leaders” in a particular industry.

Here’s how it works… It all comes down to searchability: helping people find you via Internet searches. You start by determining what kinds of information people are looking for via Google searches, in the relevant subject areas (in this case, information related to the school’s mission). Then, by crafting and posting high-quality content that satisfies those searches, the school draws a steady stream of traffic to its virtual doorstep, and in the end, helps support the school’s goal of increasing enrollment.

Joe’s content-generating efforts are going well enough that the university’s now pondering duplicating the strategy in several other discipline-specific schools in their system. And Joe’s in the wonderful position of recommending friends who are subject-matter experts in those arenas. Given the trust the school has in him (coupled with the desire, as discussed, to quickly identify resources) his fellow writers are basically shoo-ins.

Do fellow commercial freelancers know your strong suits, especially when they differ from theirs?

And to get your wheels turning a bit, what’s cool about a content marketing strategy is the broad array of businesses for which the approach would make sense. In addition to educational institutions of all stripes, how about medical/health practices of every kind (GP’s, veterinarians, chiropractors, alternative health practitioners, massage therapists, acupuncturists, nutritionists, etc)? How about law firms, financial advisors and accounting firms? Which just scratches the surface…

Interior design firms, flooring companies, landscape architects, plant nurseries, building contractors – heck, we could be here all day. Every single one could boost their search-engine rankings and marketplace stature above their competition, by creating solid, relevant content related to what they do, and for which they’ve determined people are searching, and which will bring those people to their door.

You can probably think of a handful of companies in your area that are doing this already? Who else could be a candidate?

Any current or ex-journos out there? Content development could be a wonderful avenue by which to transition to commercial copywriting (if that’s your goal), or at least help craft a healthy mix of editorial and commercial work. It’s not straight editorial; it will usually have a soft marketing slant, but truly soft.

Oh, Joe told me he also landed, thanks to a basic familiarity with social media marketing (Facebook, Twitter), a $1200+/month retainer to execute those components for the school. He’s the first to say he doesn’t consider himself a social media pro, but given how few writers out there today can claim to be, his skills are more than adequate.

Finally, in a serendipitous twist of fate, in the midst of all this, a government agency put out a report about the future of the field for which the school trained graduates. One of their recommendations? More education for those considering the field. Could there be a more perfect dovetail with the school’s mission?

Joe came across the report in his research, and suggested he do a four-part summary of its main points, simplifying and encapsulating the highlights, and have the school post it on their web site. The school loved the idea, and he’d just landed another roughly $1500 worth of work. So, he saw an opening for work that the school hadn’t considered but was happy he’d brought up, and more than happy to fund.

It gets better. Related entities and organizations found this solid summary on the school’s site, ended up linking to it, further boosting the SEO love coming the school’s way already. Over time, the school earns a well-deserved reputation as that thought leader, and a gateway to high-value content on a particular subject.

Getting any ideas from reading this?

Have you picked up any content marketing work?

Can you share how it unfolded, and/or general thoughts on the strategy?

Are you seeing more call for content development amongst your clients?

Ever “suggested” your way (as Joe did) to additional paying work, not on a client’s original to-do-list?

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The Confidence Conundrum: How a Newbie Writer Builds Enough to Succeed…

In my first commercial freelancing group coaching series, one of the participants said: “I think my biggest problem is uncertainty. I prefer feeling confident about what I’m doing – to be able to do it with authority, and I just haven’t been able to reach that point so far. I’m always afraid I’ll do it ‘wrong.'” Welcome to the human race.

Not at all surprisingly, that statement resonated with all the other “coachees,” and the same issue has been brought up by many folks in every series since. When you’re starting out in a new field, and often, as one’s first foray into self-employment, to boot, it’s easy to get mighty wigged out by this Big Unknown (a.k.a. commercial writing).

Sure, I’d like to think that commercial copywriting resources like my book can demystify the business-building process quite a bit, and it no doubt does. But still, until someone takes those steps for themselves, everything they read about in my book (or any other) is still untried, unproven – to them – and hence, still theoretical.

So, how does one develop the confidence necessary to make it as a commercial freelancer? How do you know you’ve got what it takes to succeed? How do you get yourself to a place where you can boldly go where you’ve never gone before?

Well, the bad news is if you’re a newbie, chances are, you’ll have to deal with this. But, that’s also the good news: most commercial copywriters starting out deal with this. Sure, if you’ve left a corporate position, and carry experience, clients and work from that industry – or ex-employer – with you, you’ll likely have an easier transition. But, that’s not the norm.

I see the confidence-building game as three-fold. Arguably, a lack of confidence is driven by a lack of mental adjustment, a lack of experience and a lack of knowledge. The mental side? Get comfortable with the fact that you likely won’t be comfortable for a while (one reason this field pays so well…). Just the nature of the beast, and knowing that’s the case should make it easier to deal with.

The experiential side? Self-evident. You gain confidence by doing. Every new commercial writing experience you have, every copywriting project you work on and complete successfully, is a brick in your own personal Confidence Wall.

You learn a little more about the commercial freelancing process, you understand a little more about copywriting clients – what they expect, how they are to deal with, and how to make their lives easier (your goal, by the way…). Sure, all situations are a little different, but there are always some commonalities in every scenario.

String enough successful commercial writing projects together (translation: growing respect, competence, portfolio, testimonials, and bank account), and one day you’ll wake up and realize that this gig is for real, and so are you. That’s where confidence is born. But it takes time.

The knowledge side? Along the way, of course, you can hasten the process by reading books on copywriting, marketing, sales, etc. The more you know, the more tools you have at your command when talking with clients about their challenges. In addition, study the work of fellow commercial freelancers. Visit their sites, see how they position themselves, look at their samples (starting with mine) to get a sense of the required skill sets.

How did you build confidence in your abilities when you were starting out?

Was there one particular project that stands out as a big confidence booster for you?

Do you remember the moment when you realized you had what it took to make it in this business?

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How Do You Respond to Prospects Who Make Requests Like These?

So, I got an email the other day from a reader in the Northeast whose note underscored an issue we commercial freelancers wrestle with all the time. While this particular case seems a bit more straightforward (see my reply below), variations on this scenario can present challenges to writers like us. As a result, I’d love to hear others’ strategies on this. She wrote:

It seems that, where I live anyway, people have no problem meeting with me, picking my brain for marketing ideas, and then not offering a paid writing job. Happens all the time. I’m starting to think it’s my fault.

In the case below, I competed for a full-time job with the company. Though I didn’t get the job, my contact called to say she’d like to stay in touch, as she wants to work with me in the future. Since then I have maintained a positive attitude and stayed in touch thinking that I could turn her into a paying commercial writing client.

This morning a message came in from her: “Would you be around to meet with me and a few other staff members (including the person who landed the job I competed for) on (X) date/time? We don’t have any projects ready to go at this point, but I’d like to toss around some ideas for down the line. That would include some help on things like _____ (i.e., a short list of writing projects).”

Should I go, and with the same positive attitude that they’ll become a paying client?

My response:

Given that these particular folks haven’t made a habit of doing this (i.e., calling you in to talk but not hire you), I’d go ahead and meet just to get in front of them. AND limit it to an hour, tops. AND not give them all sorts of ideas they could run with without having to hire you. Nothing wrong with giving them an idea or two that demonstrate you know what you’re doing as a copywriter, showcase your range of capabilities and underscore the value of working with you. That’s often what it takes for a prospects to quantify you as a resource and start developing a comfort level with you.

It’s a fine line, no question. But, as I see it, if someone wants to pick your brains for ideas that would be worthy of a consultation fee, then you don’t want to give it away for free. An example of where it can make sense to meet (without pay) is if you’ve taken a look at their business and seen possibilities for several writing initiatives (involving you doing the writing) that could move their business forward (i.e., a newsletter, direct mail campaign, case studies, white papers, etc).

Still no guarantee that you’ll get hired, but to a certain extent, it’s often the nature of the beast that you have to show your value before you get hired. And in the above case, giving them ideas of possible projects still means they have to do them, so the idea itself is only worth so much. Not sure whether your frequent experiences of this kind (prospects happy to milk you but not willing to hire you) points to the “nature of the beast” scenarios we ALL face, or whether there’s something else at play here.

One thing I might suggest asking and clarifying before meeting, in a casual, “in-passing” kind of way, is what sort of in-house resources they have to handle projects like these. As a way, of course, of determining if they could indeed just take your ideas and execute them on their own. Any whiff of that and you should be careful…

What advice would you give her?

What’s your policy? Where do you draw the line when it comes to initial (unpaid) meetings?

What red flags have you come to recognize as signs of a “Moocher”?

Have you come up with any sort of standard response to similar requests?

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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?

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Growth in Temps: Bad Sign for Employees, Good Sign for Freelancers

Saw an interesting bit in the Associated Press this morning entitled: “Use of temps may no longer signal permanent hiring” (link).

Here’s an excerpt:

When employers hire temporary staff after a recession, it’s long been seen as a sign they’ll soon hire permanent workers. Not these days. Companies have hired more temps for four straight months. Yet they remain reluctant to make permanent hires because of doubts about the recovery’s durability.

Even companies that are boosting production seem inclined to get by with their existing workers, plus temporary staff if necessary.

“I think temporary hiring is less useful a signal than it used to be,” says John Silvia, chief economist at Wells Fargo. “Companies aren’t testing the waters by turning to temporary firms. They just want part-time workers.”

All of which bodes well for commercial freelancers like us. Now, don’t get me wrong. Certainly don’t want to get gleeful about an ominous economic sign – one that appears to argue against a speedier bounce-back to the economy than perhaps originally anticipated.

That said, I have little control over the speed of the economic recovery, but if there’s one thing I’ve learned through the business ups and down over the past few decades, it’s this: what’s a bad sign for those seeking full-time employment is often a good sign for temporary/contract workers like us.

Fact is, the economy taketh away and the economy giveth. As the above article highlights, if you’re a temporary worker these days, opportunities are rich. And bottom line, that’s exactly what we freelance copywriters are: temporary workers.

And temporary workers like us offer some sound bottom-line pluses to those who hire us:

1) Buy only what they need and only when they need it
2) No salaries, benefits and vacations to provide
3) Fresh “outsider” perspectives
4) Access to a wide range of talent

The rise in temporary worker hiring underscores the growing workload these companies have, but as the article points out, in an uncertain economy, workers like us represent a darn good solution. And companies know it. The clincher: this is nothing new.

Over the past few decades, when the economy hit rough patches, and downsizing was the order of the day, I and others noticed the increased use of copywriting folks like us by companies who’d shed full-time staff (or pricey creative agencies), but still needed to get work out the door. And sure, once things turned around, as the above article points out, many companies added back full-time staff where it just made sense to do so.

However, many small-to-medium-sized companies (say, 50-200 employees and $5-$50 million in revenue; i.e., the business “sweet spot” for commercial writers), having seen, firsthand, the real bottom line advantages of the freelancer model over the full-time employee model – never went back. And it’s happening again as companies realize a lot of the services they need can be delivered by contract workers. And simply put, it’s changing the face of the workplace forever. Note the line in the excerpt above:

Even companies that are boosting production seem inclined to get by with their existing workers, plus temporary staff if necessary.

And heck, companies aren’t the only ones falling in love the idea of independent workers. Freelancers themselves have been discovering the joys of working for themselves for years now. And these days, you can’t spit without hitting yet another article about the rising trend in self-employment.

Sure, for many, it wasn’t their first choice, and in many cases, they had no choice. But, I know plenty of folks who started out as reluctant freelancers out of necessity some years back, got bitten hard by the bug, and like the companies that hire them, they too will never go back. Not just because of the dramatically enhanced quality of life, but because they finally “get” what us long-termers realized a log time ago: there’s far more job security in self-employment than there’ll ever be in a J-O-B.

Have you seen this scenario play out in your business experiences?

Have you had clients contact you to fill the work gap left by departing full-timers (or the dropping of an expensive agency)?

Did you start out as a reluctant freelancer only to be converted forever?

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