Good friend Michael Stelzner just released a killer report (and free, tool!) on social media, compiled from the input of some 900 folks. Entitled Social Media Marketing Industry Report: How Marketers Are Using Social Media to Grow Their Businesses, it’s available for download here.
Among the key findings?
Marketers are mostly new to social media: A significant 88% of marketers
surveyed are using social media to market their businesses, BUT 72% have only
been doing so for a few months or less.
How much time does this take? A significant 64% of marketers are using social
media for 5 hours or more each week and 39% for 10 or more hours weekly.
The top benefit of social media marketing: The number-one advantage is
generating exposure for the business, indicated 81% of all marketers, followed
by increasing traffic and building new business partnerships.
The top social media tools: Twitter, blogs, LinkedIn and Facebook were the top
four social media tools used by marketers, in that order.
Now, I haven’t made much of a secret out of the fact that I’m not big on social media right now for my commercial freelancing business. And judging from the first finding above, I’m not that far behind most folks. I’m guessing I’ll get on the bandwagon at some point, but it’s the second finding above that has me push back: The Timesuck.
I already spend enough time sitting in front of my computer; last thing I want to do is spend another hour+ a day (at the least) doing just that, and for what appears to be an as-yet undetermined payoff. My goal is to enjoy REAL life more, not just get better at the virtual one.
But, hey, I realize that’s possibly a short-sighted point of view, and there are no doubt ways for commercial copywriters like us to get maximum benefit from minimal effort (yup, guess that makes me a typical lazy card-carrying member of the human race). I figure I’ll wait till the rest of the world sorts it out rather than be part of the beta-test group.
I also realize that it IS working for many people, so I’d love to hear from you commercial freelancers about how you’re using it to build your businesses.
Are you active in social media (i.e., LinkedIn, Facebook, Twitter, Plaxo)?
If so, which are you using, and what’s been your experience?
Most importantly, has it brought you more business in some specific, measurable ways? Or in less obvious, but still promising ways?
I do these group dinner gatherings to little ethnic holes-in-the-wall every month or so. Always fun. I put a menu together with the restaurant and anywhere from 15 to 50 people show up, pay a flat fee, and enjoy. Nice way to enjoy good food, community and conversation.
This one couple comes to most of them. At the last one I did a few weeks back, as they were leaving, he says, “Oh, make sure you tune into the news at 11 tonight. They’re doing a little piece on Judy!”
Ah yes, that would make sense. After all, Judy is an estate liquidator. If ever there was a recession-proof business, that would be it. And she knows it. The worse things get, the busier and more profitable she becomes. Got me thinking. Are there such things are recession-proof businesses that are good prospects for commercial freelancers? Businesses that are doing well right now because of the economy and as a result, have the money and the inclination to spend it on getting the word out about what they do?
I’m working with a commercial writing client right now who’s awfully close to fitting the bill. She’s a consultant to small colleges, helping them increase enrollment – whether in times of upheaval (internally or externally generated) or not. And she’s got such a great track record that she stays as busy as she wants to be. And some of these colleges are so small (300-400 students) that adding just 20-30 students a year is huge for their bottom line.
I started out doing marketing materials for her own business, but pretty soon, she realized that I wasn’t half-bad at this writing thing (and yes, I’m getting my rate), and she started introducing me to her clients. Sweet. I’ll be talking to her later today to go over a whole list of projects one client wants done over the next few months and to give her an estimate.
There will always be a market for her particular skills among schools looking to bump up their enrollment, and everyone wants that – in bad times and good. And as long as I keep doing good work for her and those clients, the prospects for continued referrals are pretty bright.
Have you worked with any clients in recession-proof businesses or industries?
What might be some recession-proof businesses commercial freelancers could pursue? I can think of funeral homes, the alcohol industry, pawn shops and yes, estate liquidation and other bankruptcy-related businesses. Some more promising than others for sure. Any other thoughts?
Got the following note from Twin Cities, MN commercial freelancer Megan Tsai (www.RedWagonWriting.com), who thought it might make a good blog post. At first, I didn’t think so, as it wasn’t about commercial writing, but the idea grew on me, and I starting seeing the potential for a good discussion. She wrote:
I sometimes take on assignments for a low-paying national magazine with high production value because I enjoy the work and the clips look great in my portfolio. Typically I take the photos myself or allow the publisher to select stock photos, but because I know the value of these clips and have no use for national photo credits myself, I thought I’d offer the opportunity to a local freelance photographer. As you discuss in your book, many freelancers get their start by doing non-paying work.
I posted a quick ad on Craigslist, explaining this would not be a paid assignment, but would result in some high-quality clips for a freelancer just getting started. I asked that anyone interested shoot me an email with a link to their portfolio. Within minutes, my post had been flagged and removed, and several angry responses posted (the site is self-policing, so it was the freelancers who had it removed, not Craigslist itself). At the same time, I received three emails from interested photographers and dozens of hits on my Web site. So the question becomes, is it fair to deprive fellow freelancers of the opportunity to complete non-paying work, or should this decision be left to the individual?
My take? Megan, you’re right. They’re wrong. I’m a libertarian at heart, believing that people should be free to take or not take work, and no one should dictate the conditions under which that happens. You offered a “free market transaction”: people were free to respond or not, and for others to attack you and move to remove your post note, was wrong.
Those applauding the freelancers’ decision to silence you think they’re “standing up for the rights of creative practitioners to be paid what they’re worth” as if you were forcing them to work for nothing. Instead, as you pointed out, what they were doing was indeed depriving freelancers who wanted to exercise their right to do non-paying work (to build their book and reputation) to do so. And in this case, even more so, because it wasn’t as if the publication was going to pay a photographer “market” rates for the gig.
That decision should be no one’s to make but a given freelancer. Yes, I understand the philosophy that says, “If you encourage the idea of working for free, you cheapen the value of what any practitioner in that field does.” Arguably true, but still not your decision to make for someone else. And not compelling enough in my books to make that decision “for the good of the industry” under the guise of protecting rights. Obviously, those people who responded positively to your ad didn’t feel they needed anyone else’s protection.
As I see it, is there any substantive difference between what they did and, say, removing an ad for a TV you had offered for $50 that they thought should have been worth $200? For those who’d say, “That’s different,” I’d ask “How so?” Whether a TV or someone’s time, you’re still deciding for someone else what the value of that thing is, and that’s not your decision to make. And, yes, the same would go for commercial freelancers willing to work for free or for far less than their competitors. I don’t like to see it, but it’s their right to decide, not mine. And until this economy improves, we’re likely to see more and more of this.
Granted, for most established commercial writing practitioners, we’re not likely to find too many newbies beating us out on sophisticated commercial writing projects (e.g., brochures, ad copy, direct mail, case studies, etc.) by working for free or for $25 an hour (they’re more likely to operate on online writing job sites and in the online article writing realm), but I’m still interested in hearing people’s take on this.
Your thoughts on this subject?
Have you had any similar experience of being on either side of a situation like this?
Where do you draw the line between individual’s rights and the “greater good of the industry”?
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?
Shoot. Crap-ola. Aaargh. Happens to the best commercial freelancers several times in their careers, but that doesn’t make it any easier to swallow. I finished up a marketing brochure for a commercial writing client a few months back. Everyone loved it. We all looked it over probably 10 times each. How we all missed it is beyond me. Went to print – 5,000 copies. Finally got a few samples in the mail a few weeks back. Turned out nice. Then, uh-oh. Oh, man. Don’t tell me. There it was. Not as glaring as a misspelled word, thank heavens, but rather, unnecessary punctuation. Very unnecessary. Not one of those, “it-can-go-either-way-depending-on-which style-guide-you’re-consulting” kind of punctuation mistake. No, this was pretty clear cut. Though, in truth (he said, rationalizing), it seemed more prominent since I knew what I was looking at. If someone wasn’t looking for it (by definition, the overwhelming percentage of readers), they might or might not notice it.
Of course, first stop was my last file sent to them to see if the error was in there or was added after my hands were washed of it. There it was, in all its cringe-inducing glory. Ouch.
And they printed a 5,000 of them, because they got a good price. I’d emailed the graphic designer before I know how many they’d printed, to say, “Hey, hate to tell you, but I found this error that was MY fault, so in case they’re going to back to print at some time soon, you can fix it.” Course, at the rate they’ll likely go through them, I’ll be collecting Social Security before they run out… Sheesh. I didn’t feel good about it, but he and I decided on a vow of silence. You know, let sleeping dogs lie. But, I’m sure I’ll still lose a few winks over it.
Did I do the right thing?
Have you ever been in a similar situation? How did it unfold and how was it resolved?
Are you satisfied with your handling of the situation?
If you’ve never been in such a situation (you will, eventually…), how would you handle it if you were?