And the winner is...plus another Hot Freelance Tip of the Day!

Thanks to all who entered the giveaway last month. I appreciate your freelancing questions and will answer them here on the blog in the coming months. But first, congrats to:  Brenda M! Brenda won a free, signed copy of Writer for Hire: 101 Secrets to Freelance Success. (Brenda, your email isn't enabled, so please email me at kelly at becomebodywise.com, and I'll get your mailing address.) 

And I have a Hot Freelance Tip of the Day, too, from Katherine Reynolds Lewis, who spoke on my "Secrets of Successful Freelancers" panel at ASJA. Katherine, a former newspaper reporter, has only been freelancing full-time for three years, but she's built an impressive freelance career in a relatively short timeframe. She said that from day one, she approached her writing as a business. (Sound like anyone else you know?) One of her initial goals, one of her tips for attendees, and the Hot Freelance Tip of the Day is: Aim to land an anchor client. 

An anchor client is one that you can count on for regular work, hopefully an ongoing basis. Katherine says that having an anchor client (or two) relieves much of the anxiety of having to constantly troll for work, and reduces the risk of taking a really bad client just to get some money in the door. 

I couldn't agree more. When I was primarily freelancing for magazines, I had several "anchors," or "regulars," that I knew would assign work to me. It may not have been a certain amount per-month, but I could expect a certain amount over the year. Now that most of my work is ghostwriting/coauthoring for private clients, I don't have an anchor client per se, but try to have at least one ghostwriting project on my desk at any given time. That's my temporary anchor. Plus I take on a mix of other assignments that produce steadier cash flow. 

**Finally, did you see my earlier post? I've doing something I've never done before--giving away an e-book for free.Dollars and Deadlines' 10 Truths Every Writer Who Wants to be Be Published Should Know includes exactly that--straight talk to help take you from unpublished to published. (The link will take you to the book's Smashwords page; if you prefer Kindle, it will cost you $0.99. (I still need to figure out how to make it FREE there, too.) Please spread the word about it! 

Hot Freelance Tip of the Day: Keep in Touch (and How to do it)

I've posted before about developing regular clients. But what about clients who you only wrote for once? Or the clients you wrote for months ago...maybe even years ago. Shouldn't you just  move on? 


Nope. You are much more likely (89 percent more likely, according to my just-now-made-up statistic) to write for a client you've worked for before than for a new one. Which brings us to the Hot Freelance Tip of the Day: 


Keep in touch with former clients on a regular basis. 


How often will depend on the nature of your working relationship. I contact former clients every three to six months. Those contacts may not turn into work, but they do keep my name in front of my client.  


Your contact note needn't be anything elaborate. Here's an example of a note I sent to an editor who buys reprint rights to some of my work: 

Hey, Heather!

Hope your May is off to a great start. I just wanted to touch base and see if you’re looking for anything in particular to assign or for available reprints. I’ve been doing a lot of psychology pieces lately (topics like how criticism can be a good thing, how to read body language, how procrastination can be positive, etc) that I can “tweak” for your readers, so let me know if you’re looking for something in particular. In the meantime, I’ll drop my current reprint list below. 

All my best,

Kelly

And here's a note to a former ghostwriting client whose book I wrote:

Hi, Bob!

Hope you’re doing great. I wanted to let you know that I have a new book out on ghostwriting and coauthoring. It’s aimed at would-be ghostwriters, not salespeople (or sales coaches) but I wanted to make you aware of it in the event you know of colleagueswho are considering writing books. I’ve attached a press release about it FYI. I’m finishing a project for an MD and a proposal for a psychologist now and am actively looking for new clients.

Thank you so much and I hope 2011 is a wonderful year for you personally and professionally!  

All my best,  

Kelly 


Get the idea? Each note is brief, friendly, and professional, and takes little time for my (former) client to read and respond to. You can take a similar approach with a brief shout-out on Twitter, LinkedIn, or Facebook, too. The idea is to stay on your clients' radar, even if you're not pitching them with a specific idea or project. The Hot Freelance Tip of the Day: Keep in touch. [See Secret #47 from Writer for Hire, Know how personal to get.]


**In the midst of promoting Writer for Hire: 101 Secrets to Freelance Success, I've also been releasing new ebooks on successful freelancing. The newest? Dollars and Deadlines' 10 Most Popular, Proven Ways to Make Money as a Freelance Writer. It lists the 10 most popular freelance opportunities (based on my annual survey of freelancers'  income and work) along with their pay, how to find markets, and how to break in and is a great companion to my other ebooks. I recommend it to writers who are serious about making money for their work. 

The Boomerang Effect and How to Make it Work for You

Just as I try not to write one-shot stories, I try not to work with any one-shot clients. (Unless the person turns out to have a high PIA factor...then I become surprisingly busy if he ever contacts me again.)

I've posted before about how to turn a one-shot client into a regular. To my mind, it's not that difficult. Use the golden rule--treat your client or editor the way you'd like to be treated. Make (or better, beat) your deadline. Do what's asked of you, without whining about it. Because after 15+ years of freelancing, I can tell you that once you've done a good job for someone, he or she is much more likely to offer you another assignment--without you even asking for it. It's what I call the Boomerang Effect.

Yet you don't know when the Boomerang Effect will kick in. It might be a month after you turn in an assignment. It might be a year--or more. But I always say yes when a Boomerang client returns to me.

Case in point, last week I took on an assignment for a market I haven't written for in more than a year. The dollar/word rate isn't very high, but I said yes for the following reasons:

1. The topic is one I've written about before, so it won't take any time to get "up to speed" on the subject.
2. The story is a straightforward service piece, the kind I find easy to report and write.
3. The story is one I'll be able to reprint; it has "legs," so to speak.
4. I like the editor--she pays me promptly and is easy to work with.
5. She's a Boomerang! And even if the money is less than I'd like to be paid, I want to maintain my relationship with her.

By saying yes to this assignment, I'll keep this client in my stable of regulars--and hopefully shorten the time for the Boomerang Effect to kick in next time.

Boomerang clients cut your marketing time, and make it easier to meet your income goals because you spend less time pitching potential clients. So treat every new client as a potential Boomerang. After you finish an assignment, pitch another idea. Forward her a study or relevant news release you think she'd interested in. Stay on her radar by getting your name in front of her, and you're likely to experience the Boomerang Effect yourself.

**Of course to get a Boomerang, you have to complete that initial assignment. If you're a new freelancer, check out my ebook, Dollars and Deadlines' Guide to Selling your First Article. It walks you through a 10-step process to get your first clip and collect your first freelance check.

When to Draw the Line with a Client

Any businessperson knows that it takes more time to nab a new client than to get an assignment from someone you've worked before (assuming you did a good job, of course). And I've posted before about simple ways to turn a one-time client into a regular, like making your deadlines, staying on their radar, and thinking of ways to make their job easier.

But there are things you should never do to get or keep a client, and I agree with Jennifer Brown-Banks' post on the subject (the seven deadly sins) at ebyline, a new site designed to hook up publishers and freelancers. Accepting poor treatment, badmouthing your competition, or working for too-low fees (three of her seven deadly sins) wind up hurting you--and your job satisfaction--in the long run.

Five Things Your Editor Would Love to Hear

To succeed as a freelancer, you must be able to create and maintain relationships with a variety of others--editors, clients, sources, PR people, and even other writers. Yet writers often overlook the fact that what I call "client maintenance" is a large part of your job.

Think about it: if you're an editor and have your choice of freelancers who have similar writing/reporting skills, wouldn't you rather work with someone you like? Or at least helps make your job a little easier?

Here are five things every editor would love to hear. Why not work some into your repertoire?

• "No problem." This is my standard response when an editor has a request, whether it's pushing up a deadline or asking me to revise a piece ASAP. As long as I can do it, I will. I may not be thrilled about having to do it, but I'm not sharing that fact with her.
• "Thank you." It's basic manners to express gratitude. I thank my editors and clients for assignments. I send a quick email to say "thanks" when a check arrives. I let clients know I appreciate them--and the same goes for PR people who come through with a source in a pinch, and the sources themselves.
• "Nice job." If I get to review galleys, I tell the editor the story looks great. Only in a few cases have I had editors butcher a story; almost always, their work makes my work read better. And I let them know that I recognize that.
• "When would you like this by?" When an editor assigns a revision or asks me to adddress a few TKs, chances are she needs it ASAP. Asking her about her timeframe lets me answer with my standard "no problem," and then bust my butt to get it done.
• "I understand." In some cases, when I ask for more money or to change a contract (say, from an all-rights one to a less restrictive version), the editor says no--because she's unable to pay me more or change the contract. I'm not going to chew her out over it--if it's not within her control, it's not within her control. I get it--so I let her know.

Get the idea? Taking a personable yet professional approach makes your clients happy--and that means they're more likely to become regulars.

Five Ways to Make Clients Love You--and Hire You Again

I’ve read a lot of books on freelancing (and written a couple!), and most focus on the practical aspects of the business like developing a writing niche and stepping up to higher-paying markets. That's excellent advice.

Yet many ignore one of the most essential aspects of successful freelancing--the willingness to go beyond what editors and clients require.

For example, several years ago I interviewed a cake decorator for a trade magazine story. During the course of the interview, she mentioned that the magazine had recently run "her" photo. There was only one problem--the person in the picture wasn’t her.

Hey, I had nothing to do this. It wasn’t my problem. Most writers would have shrugged their shoulders, and thought, "so what?" Instead, I apologized on behalf of the publication, and told her I’d let my editor know. After the interview, I called my editor and told her what had happened, suggesting that we use a photo of the woman and her cakes to accompany my story on cake trends.

My editor agreed, and thanked her for letting her know about the mistake. I called the decorator back to tell her the magazine would be in touch—and this time I promised, she would be in the magazine. And she was.

I didn’t have to take this extra step--I'm just a freelancer after all. But I realized I could probably address what had happened and make the publication (and my editor) look good as well. That helped me build a relationship with an editor who was new to me—and good relationships are critical to success in this business.

How else can you go the extra mile with a client or editor?

• Turn stories in early. When you beat your deadline, you give your editor some unexpected breathing room. Trust me, they like this!

• Suggest story ideas—even if you don’t write them. I don’t do short pieces anymore, but when I come across new studies that would make good FOB, or “front of book,” material, I pass along the information to my editor. It takes only a few seconds, and I know she appreciates it.

• Compliment her when you can. When I get my contributor’s copy, I always scan my article for any editorial changes. If the edits strengthened the piece (and they usually do), I’ll send a quick note thanking her and telling her the final version looked great. Editors like to receive praise just like writers do.

• Keep her up to speed. Several of my editors freelance as well, and I share contact names and industry gossip when I touch base with them. Writers may have access to info through the freelance grapevine editors don't.

• Put yourself in her shoes. Say you’re an editor who’s turned in a story only to have it slashed to ribbons by your boss. Now you must make your boss, the senior editor, happy. Would you rather work with a writer who complains about revisions or listens carefully and agrees to revise the story? That’s an easy call.

Stop thinking of your clients as merely the people who sign your checks, and consider how you can make their lives easier. I promise it will pay off with more regular clients, and more work in the long run.

For more smart, savvy advice about freelancing, check out Six-Figure Freelancing: The Writer’s Guide to Making More Money (Random House, 2005.)

Opportunity Cost and How to Measure It

Last week I talked about the importance of having a daily nut, or daily goal. In addition to helping you make your annual income goal, your daily nut can help you decide whether to say "yes" to a potential assignment, and to bid on work as well.

But in addition to the money you'll make, the estimated time you'll spend on the assignment, and the value of the assignment to your business, don't forget to think about your "opportunity cost" when you take on work.

What is opportunity cost? Simply put, it’s any work will you be unable to do because you’ve taken on that particular assigment. And typically, the bigger or more complex the assignment, the greater the opportunity cost. (And the tighter the deadline, the higher the cost--because you'll be busting your butt to make that deadline during that time.)

For example, in the last two weeks, I've signed two new ghostwriting clients, both with aggressive deadlines. That's awesome news for my business and bank account, but it also means that I'll have to turn down any other big projects (even lucrative ones) in the meantime. I know how much work I can handle (and remember, I have two kiddos I'm responsible for wrangling as well), and I'm stretched enough already.

But even smaller assignments can carry a sizeable opportunity cost as well. When I started freelancing, I used to write articles for my local newspaper. The pieces paid between $35 and $125, and usually required a trip out of the office to attend an event or interview a source in person. It wasn't long before I realized that I needed to eliminate the paper as a client.

It wasn't a difficult decision. First, the pay wasn’t much, yet the stories usually tooks at least several hours' to write because of in-person interviews. The real problem, though, was that the time I spent researching and writing the stories prevented me from pitching more lucrative markets (like national magazines) which would result in better-paying work. That opportunity cost was hurting me in the short- and long-term.

The end of the year is a good time to consider the opportunity cost of your regular clients. Is the amount of money you make from them worth the hassles, time, or potential loss of other, more lucrative work? Only you can determine what the opportunity cost of a particular assignment or client is--and whether that assignment or client is worth it. Ideally it always is.

Get More Regular(s): 7 Ways to Do It

I didn’t set out as a freelancer trying to build relationships with editors and other clients. I just wanted clips, experience, and money—not necessarily in that order. But over time, I learned. And one thing I learned is that it’s much easier (not to mention less stressful) and less time-consuming to work for a handful of editors on a regular basis than to do lots of “one-shots,” where I write for a client or editor once and then move on.

But how do you do that? How do you make an editor or client a “regular”? It’s not that complicated.

Pursue long-term markets. First off, I’m selective in the markets I pitch. I look for those that I can have long-term relationships with—which usually translates into less time pitching and more work. Sounds obvious, but I’ve written for markets as varied as The Lion to Accent on Living to Continental—but all only once. On the other hand, I’ve written for other markets—like Woman’s Day, Complete Woman, and The Writer—multiple times over the years. Look for markets that buy a fair amout of freelance work, that cover subjects you write about, and that you feel fit your voice. That will help ensure long-term relationships.

Be generous when you can. Earlier this week, an editor asked me if I could add a quiz to a story I’d already turned in. I'd originally thought about doing a quiz but the story ran long, so I didn't include it. I briefly considered asking for more money; after all, she's asking for more work. Then I reconsidered. She's been giving me a lot of work lately, edits are minimal, and I like the story assignments I get. I emailed her back and told her I’d be happy to do it gratis and turned it in the next day. (No, I don’t do that on a regular basis. I can't afford it. But I figure it’s an investment in our relationship.)

Do what you say you’ll do. I’m telling you, writers blow this all the time. Doing what you promised means more than meeting your deadline. It also means giving the editor what she asked for in terms of subject, slant, sources, and word count. It means turning in clean copy that’s free of misspellings, factual errors, grammatical mistakes, and the like. If you can’t do what you promised (say, you can’t meet the deadline), tell your editor. Don’t do what a writer I know did and simply “go rogue” and disappear for weeks. Needless to say, she never wrote for our mutual editor again!

Be low-maintenance. One of the nicest compliments I’ve ever had as a freelancer was when an editor told me I’m a “low-maintenance writer.” I know what she meant. It’s not just the quality of your wok that determines whether you’ll get assignments. Other factors—like how quickly you respond to requests for revisions (which I know we all hate!), how diligent you are about coming up with story ideas, and even how pleasant you are—can all play a role as well.

Always have a back-pocket idea. When is an editor most disposed to give you an assignment? When she emails you to say "great job on this story," "I'm putting payment through," or some variation of the same. That's why I like to have an idea at the ready to pitch--I figure there's no better time to have her say "yes" again than when she's happy with a previous assignment. Don't let too much time lapse between pitches--ideally, have a new idea for an editor within two weeks of having her accept a piece.

Stay on their radar. I’m not my editors’ only freelancer, and I know it. So I try to touch base with my regular clients every few months, even it’s only a quick email. Sure, I let this slide when I’m busy, but an email that says something along the lines of “just checking in—I’m working on some new ideas for you, so let me know if you’re looking for anything in particular” can often pay off with work. If I see a recent study, blog post, or news item I think will interest an editor, I’ll email it just as an “FYI.” No, my editors and clients aren't my buddies. (Okay, a few have become buddies, actually. But that kind of effort helps cement a relationship with someone I may never meet in person!)

Keep your bridges in place. Not all clients turn into long-term ones. That’s just part of the business of freelancing. And there are editors I don’t care to work with again. But they don’t know who they are. They just know that I am incredibly busy when they call me…and after a few calls, they move on. In the meantime, I haven’t burned any bridges—especially important as I never know where they may wind up. And who knows, I may work with them again one day…and I want to keep that option open.

What about you? How do you keep your clients happy—and keep them around for the long haul?

The 80/20 Rule

Ever heard of the 80/20 rule? It’s an old business axiom that says that 80 percent of your work will come from 20 percent of your customers. I’ve found it’s true for freelancing, and it’s one of the reasons I focus on developing relationships with editors and other clients. Just as I don’t want to write about a topic only once (instead, I reslant the idea to maximize my time and research), I don’t want to work for a client only once. That's a waste of my time.

Here’s the thing. First off, it’s much easier to get work from an editor you’ve worked with before (assuming you did a good job, of course.) Case in point: I recently sent four story ideas in an email to an editor I write for regularly. Each was just three or four sentences, a far cry from the page-long, heavily researched query I’d send to a new market. She emailed me back the next day, assigning all four ideas. Marketing time for all four assignments? Virtually nil.

Second, you’re more likely to get more money because editors often pay their regular contributors a higher rate than “one-shot” writers. I know I get a higher per-word rate from many of my markets because I’ve already proven myself—and my editors know that I can be counted on in a crisis. (I’ve turned around a feature in three days to help out an editor who had another freelancer flake out.) That makes me more valuable than "Writer X," or someone new (i.e. unproven) to the editor.

Third, when you build a relationship with an editor, he or she will often come to you with ideas, which saves you time having to query. In my fantasy life, I’d never have to pitch again; I’d just sit back, accept assignments, and write. (Hmm, my fantasy life is rather lame, isn’t it? But I digress.) And it’s not just editors who come back to you—a client I ghostwrote a book for several years ago hired me last fall to ghostwrite an article for him for a trade publication. I love work that drops into my lap like that.

Finally, clients who know you and know your capabilities are happy to pass your name along. That same ghostwriting client recommended me to a friend of his looking for an editor for his book last summer, and that led to a lucrative and fun project for me. Another editor at a custom magazine gave my name to one of her colleagues and that led to more work. If I can get my clients doing my marketing for me, I have to do less of it myself. Bonus!

So how you turn your one-shot clients into steady ones? Stay tuned...that will be my next post.