Notes from Minnesota

Hey Freelancer, 

It all began with a challenge. “You're so out of touch with the reality of the 'average' person, you wouldn't recognize it if it bit you in the butt.”

“Oh really?”

“Really.”

True. The freelance life is fairly unique... set your own hours, fees, and working conditions. After around 15 years of this evidently unique work situation, I didn't think I was that out of touch.

But I had to wonder. After all, the person who challenged me was a trusted friend, someone whose opinion matters to me. So I decided to research the situation a little bit more.

Although I made no mention of it in my freelance circles, I quietly got myself a part time position in a big-box discount store to experience what people call “life.” So throughout the entire holiday season, I was experiencing this thing some people call “life” and for the past (nearly) 90 days I took part in my little social experiment.

And how would I describe what I discovered? In a word... WOW.

I mention this because it's been quite the mind bending experiment, this work-a-day experience. It's amazing how the rush of retail compares to the primarily internal life of writing. It's also created challenges in my writing biz... keeping up with e-mail correspondence, reviewing submissions, writing my 2k words daily.

I've already shared some of the information I've gleaned form this experience with the Creative Mindset Community and will get you up to speed soon.

Just thought I'd give you a fast taste of what's coming up. :) In the mean time, enjoy today's issue of Writing Etc.

Happy '09!

P.S. Be sure to check out our best sellers. Here's the link

Mindset Moment

“You can assume you'll face financial pinches along the way. You'll enjoy a fair amount of rejection as well. And... yeah... you just may hit a few instances of so-called “writer's block.”

It's imperative that you keep your ultimate goal set strong in your mental vision.

This little vision will become your Polaris. If you walk towards it with unwavering faith, you will eventually reach your destination with fewer detours than if you wander aimlessly, unaware of what you truly want out of your profession.”

From the Creative Mindset Newsletter #1

http://filbertpublishing.com/creative.html

Beth's Hot Pick of the Week 

Bob Bly

An Excerpt from Bob Bly's Guide to Freelance Writing Success: How to Make $100,000 A Year And Have The Time of Your Life Doing It

You can earn a six-figure income as a freelance writer without producing a bestseller or selling scripts to the movies or TV. That’s a realistic and achievable income for freelancers who pursue commercial freelancing - writing for corporate and institutional clients instead of book and magazine publishers.

In commercial freelancing, you perform writing services for corporations, entrepreneurs, trade associations, professional societies, colleges, museums, hospitals, and other commercial enterprises and organizations instead of the traditional editor at a magazine or book publishing house. The material you write may have as its goal any of the following: to educate, to motivate, to entertain, to inform, or to persuade. But most assignments involve writing documents designed to sell (or help sell) a product, service, organization or idea.

What types of commercial assignments are there? In a given year I will produce for my clients ads, sales letters, annual reports, direct mail packages, sales brochures, capabilities brochures (“corporate” brochures), catalogs, press releases, feature articles, speeches, slide presentations, videotapes, films, newsletters, booklets, pamphlets, e-mail marketing campaigns, Web sites, and any other materials they need to sell their products, communicate with employees and customers, or describe their activities.

The biggest advantage of commercial writing is that it pays well. Many freelancers working in this field earn $50,000 to $125,000 a year and more. Unlike the magazine and book marketplace, where authors prepare queries and proposals they hope to sell to editors, clients in the commercial sector approach you, the writer, with specific

assignments. They also provide all necessary background information, eliminating the need to do outside research.

According to an Adweek survey, 75 percent of commercial freelance writers charge by the project, while 25 percent bill at an hourly or day rate. And as freelancer Sig Rosenblum points out, “Fees are all over the lot.” I know many freelancers who charge $100 for a one-page press release; my fee is $700.

Hourly rates for freelancers also vary widely according to experience and geography. In my area, northern New Jersey, some freelancers charge as little as $25 per hour, with $50 being closer to average. Ben West, a good friend and successful freelancer specializing in financial copy, was getting $75 per hour last time I looked.

To get a feel for what to charge, remember: your initial meetings with your first prospects will quickly give you an idea of what constitutes a reasonable fee. For instance, let’s say you ghostwrite speeches for local businesspeople. You find that some want to pay only $500 per speech while others agree to your quoted fee of $2,000, but no one expects to get it for less than $500 and no one is willing to go to $3,000. The range, then, is $500 to $2,000.

It also helps to find out what fellow freelancers are charging for similar services. Many publish fee schedules, which you can get by calling or writing. Some, surprisingly, are happy to advise novices on what and how to charge. Your own fees, of course, will probably fall somewhere in the range of what others in your area are billing clients.

Any organization in your area that produces promotional, educational or informational materials is a potential client for your freelance writing services. But

many freelancers find prospecting for clients easier when they focus on companies in a particular field or industry - an industry in which the freelancer has prior experience.

When I started, I knew I could write competently in many different fields. Clients saw it differently, however. Banks wouldn’t hire me because I had no financial samples in my portfolio. Pharmaceutical companies said to me, “We need a medical writer.” Chemical and industrial firms, on the other hand, were thrilled to find a writer who was a chemical engineer by training and had been the advertising manager of a major manufacturer of chemical equipment.

The lesson here is that we live in an age of specialization. Your best bet for breaking into commercial writing is with clients in industries in which you have inside knowledge or previous experience, either as a writer or from some other job. Clients are eager to hire writers knowledgeable in their industry, who can advise them on promotional and marketing strategies, not just write copy.

How do you locate clients? The  Standard Directory of Advertisers, available in most libraries, is a good place to start. It provides detailed information on more than 17,000 companies nationwide that actively market their products and services, and is indexed both alphabetically and by state.

Who do you want to reach in these companies? If you write advertising materials - print ads, TV and radio commercials, sales brochures, point-of-purchase displays - contact the advertising manager, marketing manager, sales promotion manager or manager of marketing communications.

If you specialize in corporate communications - annual reports, speeches, capabilities brochures, materials for in-house publications - contact the manager of corporate communications.

If you write public relations materials - press releases, feature articles, case histories, newsletters - contact the manager of public relations.

If you specialize in employee communications, contact personnel managers or managers of human resources.

At large corporations, each area may be handled by a separate person. At smaller firms, one individual may be responsible for all these functions. In either case, call the company and ask the receptionist for the name of the person in charge of the department you want to reach (if it is not listed in The Standard Directory of Advertisers). Nine times out of ten, this information is given freely over the phone.

Some freelancers get most of their work directly from corporations, called “clients” in the ad business, while others work primarily for advertising agencies, public relations firms, graphic design studios, audiovisual production houses, and other “vendors” that supply communications services to corporate America.

Listings for such vendors may be found under the appropriate category in your local Yellow Pages. For more detailed information on each company, consult industry directories. Ad agencies, for instance, are listed in The Standard Directory of Advertising Agencies, again available at your library. Your contact will be the creative director, copy supervisor, or - at very small agencies - the owner or president.

Writer’s Market also lists some ad agencies, although the listing is incomplete and represents only a fraction of the agencies that purchase freelance work.

In magazine and book publishing, writers approach prospective “clients” (publishers) with ideas they hope to sell. In commercial freelancing, the opposite is done: You approach clients and try to sell them on using you and your writing services. You are selling yourself, not a specific idea.

If the client likes you and decides to hire you, the client gives you an assignment to write according to specified guidelines. For example, the client may tell you, “We need a one-page ad selling our filtration system to firms in the pulp and paper field.”

If a client instead says, “Here is our product; tell us how to sell it,” answering this question would require considerable thought on your part and would be considered a separate consulting assignment for which you should get a contract before starting. Giving away ideas for free, which is accepted as standard practice by book and magazine writers, is not done by successful commercial freelancers.

How do you make the initial contact and sell yourself to clients? Use the same approach as any business trying to sell its product or service: Market yourself.

What are the marketing vehicles used by successful freelancers working primarily in the commercial field? They span the spectrum from “hard-sell” promotions (such as classified and display ads, sales letters, brochures, self-mailers and telemarketing), to “soft-sell” publicity vehicles such as giving speeches, networking, seminars, and writing articles for the trade press.

Direct mail is especially effective in making the initial contact. You can send a straightforward letter describing your background and writing services, either preprinted or computer-personalized, to prospective clients, both on the ad agency and corporate side.

In my own such letter, I include a reply card the prospect can mail back to request additional information on my services and a package of writing samples. The response rate of people sending back my reply card is 7 percent, which means by mailing 200 letters I can produce responses from 14 potential clients who say, in effect: “Yes, I’m interested in the possibility of hiring you to write for our firm. Tell me more about you.” This is the type of response you want to generate.

Another powerful marketing technique is to publish articles in the trade press. Such articles, written by you on some facet of advertising, marketing, or business communications, help position you as an expert in the field and increase your visibility among the target audience you want to reach. Reprints of articles, imprinted with your address and phone number, make excellent additions to direct mail packages and can be used as handouts at shows, conferences, and meetings.

The most important ingredient of success in commercial writing is attitude. A recent conversation with the president of a small public relations and advertising agency summed this up nicely for me: “I have been dissatisfied with most of the freelance writers I have used. The problem is, they don’t understand what they’re doing. They think they’re just putting words on paper. I tell them the background on a story, and they hand it back to me exactly as I gave it to them and say, ‘Here’s the

story you wanted.’ What they fail to realize is that our words have a purpose - they must sell, educate, inform, and motivate - or the client is not getting his money’s worth.”

Or as ad man David Ogilvy puts it: “When I write an advertisement, I don’t want you to tell me that you find it ‘creative.’ I want you to find it so interesting that you buy the product.”

Let me give you a few tips that can help you produce the kind of copy commercial clients desire:

·         Keep it simple. On an episode of Thirtysomething, college professor Gary questioned Michael’s simple-minded approach to advertising. Ad man Michael replied angrily, “Much of the public has a second-grade reading level; they’re not big fans of Shakespeare.”

I don’t know about the second-grade reading level, but I agree that commercial messages should be clear, simple, and understandable. Remember, you are writing not to dazzle the reader with your prose, but to get the client’s message across.

·         Be concise. Don’t waste words. Get your point across, then move on.

·         Put yourself in the reader’s shoes. The reader could care less about your client’s products, sales goals, or corporate policies. The reader cares about himself - his needs, his goals, his fears, and his hopes. Always try to start with the reader, then build a bridge that relates to your sales message. For example, instead of “Our new telephone system,” say, “Your telecommunications

needs” or “Tired of paying through the nose for sky-high telephone bills?” You get the idea.

·         Stress benefits, not features. Tell how the product, service, or idea helps the reader save time, make money, or improve his life. Instead of saying “The Encyclopedia of Health is 467 pages long with 44 charts and graphs,” say, “Now all the information you need to live a healthier, happier life is available from one single, authoritative source.” 

·         Be specific. Avoid superlatives. Good commercial writing is fact-filled; imparting information the reader can use to make an intelligent decision about using your client’s products and services. Many commercial writers mistakenly believe that consumers are stupid and that puffery will somehow bluff them into making a bad-buying decision. They are wrong.

How do you get started in commercial freelancing? Although you can use the marketing techniques outlined above, the best way is simply to grab the opportunity to do this work when an offer comes your way.

And chances are, it will. Most magazine and book writers receive occasional offers to do corporate or ghostwriting work for commercial clients, but they pass it by. Next time such an offer comes your way, take it. Then build on this foundation.

The first client is the hardest to get. Once you have one commercial assignment under your belt, you can approach prospective clients as an experienced writer with a portfolio and client list, not as a novice.

Ask friends if their companies have employee newsletters, in-house publications, or annual reports. Ask them to find out the names of the people in charge of those publications. Then see if they can arrange introductions for you.

Getting your first clients - and serving them well - is extremely important. Do everything in your power to satisfy these clients and get more work from them. They become an important part of your marketing effort; providing references, testimonials, and proof of your ability to serve clients successfully.

Don’t worry too much about fees at this point. The important thing is to build a portfolio, a client list, and a reputation for quality. Once you expand your client base and have a comfortable amount of work coming in, you can think about raising fees and dropping difficult or unprofitable accounts.

Successful commercial freelancers often talk in terms of “billable hours.” These are the hours during the workweek spent writing, researching, and doing other work on projects for paying clients. Most writers and consultants find that only half their time can be spent on billable hours; the balance is taken up with such matters as administrative tasks, training, reading, and marketing for new business.

Thus, if you work a 40-hour week, you put in only about 20 billable hours each week. Multiplied by 50 weeks a year, this is 1,000 hours. Even at $100 an hour, your income peaks at $100,000 a year. And that’s the gross figure, before subtracting for business expenses and income tax payments.

Increasing your income beyond this $100,000 “ceiling” is difficult, but not impossible.

One way is to raise your fees, and as your reputation grows, you may want to do this. Another option is to find ways of working more efficiently, thus increasing billable hours. Why run down the block every time you need a photocopy when you can buy a good machine for your home office for under $1,000?

Another option is to hire an assistant to handle the mundane tasks of typing, correspondence, bookkeeping, and other general administrative functions, thus freeing you to concentrate on writing and marketing.

Several writers I know subcontract work to other freelancers who write at lower rates, and keep the difference as profit. This sounds fine in theory, but in reality finding other writers who meet your own standards of excellence can be difficult. And often, the work they produce for you is not what you would find acceptable for submission to the client.

One writer I know of describes himself as a “freelance information packager,” and this is a good description of the direction many self-employed commercial writers are going in these days. For instance, in addition to writing ads and brochures, I also consult, teach, and market my own seminars on direct mail and other communications topics. Also, I professionally tape my seminars and market the cassettes as a separate product.

The idea here is to take your expertise and offer it to clients and buyers in many different ways, shapes, and forms. You are no longer subject to the whims of the publishing world, but can become a self-sufficient entrepreneur - a “mini-conglomerate,”

if you will - selling information, expertise, and writing ability in a variety of ways and formats.

If you can think, learn, and write, there's no limit to what you can accomplish. And commercial writing - putting your skills to work for corporate clients paying big money for writing services - is one of the best and easiest ways to expand your writing activities, and your income.

~~~

This has been an excerpt from Bob Bly's Guide to Freelance Writing Success: How to Make 100k a Year And Have the Time of Your Life Doing It. For down-home, utterly simple, easily duplicatable techniques to build your own lucrative freelance biz, nab your copy today.

~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 

I Recommend:

Writing For Dollars! The FREE ezine for writers featuring tips, tricks and ideas for selling what you write. Receive the FREE ebook, 83 WAYS TO MAKE MONEY WRITING when you subscribe. Email to subscribe@writingfordollars.com -*-

http://www.WritingForDollars.com 

WRITERS FIND MARKETS EASILY - Worldwide Freelance has a NEW fully-searchable Markets Database. Discover writing markets from North America, Europe, Australia and other places. It's free, so come and try it out

here: http://www.worldwidefreelance.com

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~