The One Thing You Must Do Before Bidding on an Editing Job

Blogathon, day 17. 

Typically clients who hire you to edit want to know one of two things (or both): how much you charge per hour and how much you'd charge to edit his project. (Keep in mind that "editing" can mean different things--does your client want someone to do line editing, copy editing, or developmental editing, for example? I only do developmental editing for clients as the first two are outside my wheelhouse.) 

Hourly rates vary, but you're usually talking in the $20-50/hour range, depending on your experience and the type of project. After reviewing your client's project, or a part of it, you can bid on it based on your hourly rate. 

However, if you're editing a book or a longer project, make sure that you review more than the first chapter. The first chapter is the one that the client has spent the most time on, and it's likely to be much "cleaner" than the rest of the material. I made this mistake once early on, basing my bid on a quick scan of the first chapter. It wasn't in bad shape and I didn't expect the job to take much time. 

Well, chapter 2 was worse than chapter 1, chapter 3 was even worse than chapter 2, and chapter 4...you get the idea! I'd quoted a project bid based on the number of hours I expected to work, and I was way off. The result was that my hourly rate plummeted. I've never made that mistake again; I skim the entire project before I quote a bid. (If you don't have time, choose a chapter from the middle of the book, not the first one.) You'll have a more accurate sense of how much work the editing job will take.

Your assignment: If you select only a portion of material to review to quote a job, make sure it's from the middle of the book, not the first chapter.  

**Readers, thank you for visiting my blog! If you're a new freelancer, get up to speed fast with Dollars and Deadlines: Make Money Writing Articles for Print and Online Markets, which is aimed at brand-new freelancers in search of their first clips. Six-Figure Freelancing: The Writer's Guide to Making More Money, Second Edition is a freelancing classic that helps both new and experienced writers boost their bottom line. And my latest book,Goodbye Byline, Hello Big Bucks: Make Money Ghostwriting Books, Articles, Blogs and More, Second Edition, shows how to break into the ghostwriting/content marketing field. 

Build a Better Bid: A Template for Freelancers

Readers of this blog know that I'm a big fan of sharing templates, or examples that readers can adapt for their own purposes. Last post, I shared four tips on better bidding, and promised an example of a written bid for readers. Here it is, with my comments in blue: 

Dear Alice: 

First, thanks so much for getting in touch with me earlier this week. I'm really excited about your book concept and the possibility of us working together. I think you have a lot of good ideas, and also feel that I can bring a lot to both the proposal and the book itself. (Oh, and thanks for sending the research you sent last night—I read through it and there's a lot of good stuff there as well.) [It may seem obvious, but no one minds being complimented, at least when your compliments are genuine. Use the first paragraph to set the stage for a congenial conversation.] 

The seeds for the book are there. There's still much to do, however. Working together, we need to come up with a title and subtitle; an overview; the "hook" (i.e., what makes this book different from everything else out there); competitive analysis (a rundown on the book's likely biggest competitors and how it's different than/better than the other titles, which relates to the hook); the audience (is it all career-oriented busy people, or more aimed at women or men, for example); marketing/promotion (again, you've got a platform already but we really want to showcase this in the proposal); about the author(s) (depending on whether you want to include me as coauthor in the proposal—I think that's a selling point but that's your call); the overall structure (i.e., total number of chapters, pages, appendices, and the like); the chapter summaries; and one well-written sample chapter of approximately 15 to 20 pages. The total proposal will come in at 30-40 pages. [Wow, I have a lot to work to do, don't I? That's what I want the client to realize. I'm not only giving her a description of the work that I expect to do, I'm showing her that it will take some time to carry it out.] 

Sound like a lot? It is. But the end product—the finished proposal—will be worth it. I'm assuming that you're willing to do some of the research and work with me on the sample chapter and overview in particular; that will save me some time. As I told you yesterday, I typically charge $5000 to $10,000 for a typical proposal, but considering the subject matter and the level of your involvement, my fee will be $4,500. This includes all of the elements of the proposal including one sample chapter, to be delivered within four to six weeks (at a date we agree on.) I'd like $2,000 on going forward/signing a collaboration agreement (see below); $1,000 upon delivery of the draft proposal (without the sample chapter): and $1,500 upon delivery of the finished proposal with the sample chapter. [I've given my bid, finally, with an explanation of how I reached the figure I'm asked for. I've also made it clear that I need a retainer to get started.]

With the polished, finished proposal in hand, you'll be ready to pitch agents and editors—and you'll have the framework for the book completed which makes the actual writing of it easier. I know you want to use the book to take the next step in your career, but I also think you have a saleable idea, a strong platform, and the dedication to see the project through—all of which is necessary to succeed as a book author! [Here I set out the benefits to my client of having the book proposal completed. In retrospect, I would have swapped this paragraph with the one above, providing the features--the description of the elements of the proposal--and then the benefits before giving my bid. I think that may have been more effective.] 

Another thing to consider is when you want to sign a formal collaboration agreement that sets out our expectations for working together. We can sign one for the proposal itself, or for a potential book deal, or work something out that you're comfortable with. I can send you a sample one that you can tweak/modify how you see fit. [Again, I'm underscoring the importance of a signed contract.]

What else? I think we've got a good rapport, and I'm reliable, professional, and easy to work with. If I tell you I'm going to do something, you can count on me to get it done. I love collaborating with smart people to get their ideas in print, and helping them become book authors. [Just reminding the client of how awesome I am. :)] 

Please let me know if you have any questions about my bid or the project—I hope we’ll have the chance to work together! If this is a go, I can make your proposal my first priority, and I think you (and hopefully a wonderful agent and editor as well) will be delighted with the finished product. Let me know if you're ready to take the next step. [I like this close; it's direct but not pushy.]

All good things,

Kelly

**Readers, what do you think of the proposal? Do you like the tone and format? It worked--my client hired me to write the proposal at the fee I requested. While our agent wasn't able to sell the actual book, my client was happy with my work and hired me several years later on another project. 

**Want to see more bids that worked? Check out Goodbye Byline, Hello Big Bucks: Make Money Ghostwriting Books, Articles, Blogs, and More, Second Edition; the print version will be in print from Improvise Press by September, 2014. 

Bidding to Get the Gig

When you freelance for print and online publications, you're offered a rate (almost always per-word) for your work. You either take the assignment or turn it down. Easy enough. But what happens when you have to bid on a job? Then you've got to determine what you'll charge, and this is tricky even for seasoned freelancers.

With that in mind, I offer these tips on bidding. First, try to get a sense of the client’s budget if at all possible. Let's say I'm asked by a regional publication how much I charge for reprints. I'll counter with, "What does your market usually pay for reprints?" The response will  affect how much I ask for. Here's the thing--I've had reprint markets pay as little as $40 and as much as $500 for rights to a story. I want to get as much as I can, but for a reprint (which requires very little work on my end), I'm more than happy to work with a publication's budget. 

Second, give reasons to support your bid. If I'm asked to quote my fee for a speech, for example, I point out that I've been a professional speaker for more than 10 years, and have keynoted corporate and nonprofit events. If I'm asked to quote a fee for ghostwriting, I'll highlight the fact that I've been ghostwriting books for nine years, and have experience working with traditional and POD publishers. Never give a bid without demonstrating what you're worth it. 

Third, if at all possible, provide your bid in writing. A written bid lets you demonstrate that you are clear on the the scope of the project and your client's goals. Taking the time to provide a written bid also prevents you from blurting out a number that's too low--and then regretting it later.  

Finally, make sure that you demonstrate how your background and experience sets you apart. Chances are that your potential client is looking at other writers, too, so your proposal needs to make it easy for the client to choose you over them, especially if your bid comes in higher than others. I'm upfront about the fact that I charge more money than (some) other ghostwriters. So I want to convince the client she wants me enough to choose me over someone who may be cheaper. That's why I always explain how I will approach the project (without giving too much away) before I bring up money. In other words, sell the client on you first, and then state your price. 

**Readers, do you agree with my tips on bidding? Would you like to see an example of a bid to a potential client? Let me know by commenting below. 

**Want to know more about ghostwriting, including content marketing? Check out Goodbye Byline, Hello Big Bucks: Make Money Ghostwriting Books, Articles, Blogs and More, Second Edition on Kindle. Prefer print? Stay tuned--Improvise Press will be releasing the print version in September, 2014! 

Stick to your Standards: A Lesson in Bidding on Work

Thanks to all of the entries in my latest giveaway; I'll announce the winners next week! In the meantime, I'd like to share an important lesson about selling yourself to clients:

Last week, I received an email from a potential editing client who got my name from a source I've used for stories in the past. (I've been reaching out to former sources--many of whom are health, fitness, and nutrition experts-to let them know I'm doing primarily ghosting/coauthoring work, and have gotten some good leads that way. Good idea for fellow ghosts/coauthors, BTW.)

Anyway, he sent me his book and asked what I would charge to edit it. A quick review convinced me that he didn't need an edit but an overhaul--he's got some good material but it's buried among a lot of not-so-great material. (It's his first book.) I told him I needed more time to read through it, and then emailed him to tell him I thought the book needed reorganizing and rewriting, not just editing...and suggested he hire me to do that first, and then to stay on as an editor afterwards.For example, I'd cut the first three chapters altogether; they don't work with his premise. I also told him some specific instances of what I'd change (without "giving away the store," so to speak).

I talked to him yesterday. He had reached out to a number of possible editors. All of them but me simply bid on the work at face value. None commented on the fact that the book needed major work (and trust me, any writer/editor would see that in five pages). They just said they'd be happy to do it and gave him bids--I was the only one who said that the book needed a lot of work first, before an edit.

Long story short, I got the job--because I didn't just give him what he asked for (an editing bid) but because I gave him what I thought the book needed, and made the case for it. Explaining what I could do, and the benefit to him got me the assignment.

The lesson? Don't be afraid to think outside of the proverbial box when bidding on work. Your honesty and insight may be rewarded with a new assignment.

**Want to know more about ghostwriting, one of the most lucrative writing specialities there is? Check out my well-reviewed (and some of the reviewers don't even know me!) book, Goodbye Byline, Hello Big Bucks: The Writer's Guide to Making Money Ghostwriting and Coauthoring Books (Kindle version).

A Month of Templates: The Project Bid

During this month of templates, we've covered queries and letters of introduction, but what happens when you have a potential client who requests that you provide her with a bid or written proposal? I use a template for that as well.

In the proposal, I provide my bid, and describe the scope of the work of the project. Sometimes it’s beneficial to list the amount of hours you estimate the work will take; in other situations, you'll just give a flat “project fee.”

Here’s an example which I used for a small advertising agency that needed a writer for a full-color brochure for its client. (My fee was based on my hourly rate at the time.) My comments appear in green:

***

DATE

Re: Smooth Stone Brochure

Dear Diane:

It was a pleasure speaking with you this morning about the referenced project; thank you for giving me the opportunity to bid on the Smooth Stone brochure.

My bid to provide the copy on the project is $1,200, which includes:

• Phone calls with client re: theme and purpose behind brochure;
• Trip to Smooth Stone to visit site;
• Initial draft of copy;
• Reviewing and discussing copy with client;
• Phone calls with you and client re: copy, layout, etc.;
• Editing and revising copy; and
• Final copy for production. [I like that I've explained the amount of work writing the brochure will entail; in this case, the ad agency's client insisted I visit the company in person so I could see firsthand what kind of work they did. That meant more time, and a higher bid. In retrospect, though, I would have clarified how long the brochure would be, either in pages or words, to keep the project from growing into a larger one than I expected.]

Thanks again for your interest and I hope we’ll have the chance to work together.

Very truly yours,
Kelly James-Enger

***

Readers, this is a simple but effective bid, and it got me the job. You should have a similar template on hand for any work you do that may require a proposal. Next up, a longer, more substantial bid for a book proposal.

10 Questions to Ask Potential Ghostwriting Clients

I've corresponded with three freelancers in the past week who had questions about bidding on ghostwriting gigs. There's no magic formula to use, but your bid should be based on factors including your experience, the amount of work you're expected to perform, and the client's deadline.

Before I can determine whether a project has merit (at least for me), I need some background information. I ask every potential client the following ten questions:

• What kind of book (or other project) do you have in mind?

• How long will the book be?

• Why do you want to write this book? (Does the client want to attract more business or simply get her memoir in print? Is she expecting to make money from her book?)

• What kind of material do you have for your ghostwriter to use? (Has the client started the book? Does she have an outline or other research/notes I can use as a starting point?)

• What's your deadline?

• Why are you considering using a ghostwriter? Have you worked with one before?

• What kind of publisher do you plan to work with? (Is the client planning to try to sell the book to traditional publisher or use a POD publisher?)

• Who's the audience for your book?

• How do you envision working with a ghostwriter? (In other words, does he want you to do all of the research and writing, or will he be doing some of the writing himself?)

• What budget do you have in mind for this book? (I'm happy to bring up money last, but I always find out what my client's financial expectations before I even consider bidding on a job. I've learned that lesson the hard way.)

With the answers to these ten questions, I know whether I want to pursue the project, first off. I also have enough info to make a sensible bid, based on my expectations of the work involved.

Even in a down economy, the market for ghostwriters is broad and continuing to grow. If you want to know more about how you can break into and thrive in this lucrative field, check out my new book, Goodbye Byline, Hello Big Bucks: The Writer's Guide to Making Money Ghostwriting and Coauthoring Books. Or buy the Kindle version.