Know Your Worth...and Stand Your Ground

What's your ideal freelance work mix? For me, it's to be working on a book for a ghostwriting client with a mix of shorter content (mostly health and fitness) for corporations and content agencies thrown in as well.

Of course we can't always have our ideal. At the moment, my work funnel is nearly empty. (That means the coming week's priorities are marketing, marketing, and marketing.) Part of the issue is that I've had several potential book projects die on the vine. So I was excited to learn about a possible gig. It's the type of ghostwriting I do; I like the potential client; this particular book has lots of potential; and my calendar is looking empty at the moment.

However.

What's being offered, and what I charge to ghostwrite a book proposal--at the moment at least--are way too far apart to go forward. And I'm frustrated. I'd love the project, and I know I'm a good fit for it. And did I mention that work funnelI?

As a new freelancer, I would probably just sucked it up and taken the gig. But that's not how I work today.

Here's a look at my thought process:

1. I know what I charge for a book proposal--typically between $5,000 and $8,000 (though I've charged as much as $15,000 for one that grew to 100+ pages and took more than six months to write).

2. I know what a well-written book proposal is worth. (At least to the clients I work for.) And that, not surprisingly, is between $5,000 and $8,000. See how that works out?

3. The potential client has tried, and can't write the proposal on his or her own. Which means the client has to hire a ghost to make the book go forward.

4. I know from reviewing the material that it will take some time and work (probably four to six weeks) to create a compelling, giant-advance-grabbing book proposal. And while I'm willing to make that happen, that stretch of time means I can't take on another proposal or any other big projects. That's opportunity cost, which is factored into deciding whether to take on a big project.

5. Finally, and just as important, what I do as a ghost (and what we all do as freelancers) has value. If a potential client doesn't value the work I do, that doesn't set the stage for mutual respect and a positive working relationship. And when you ghostwrite a book for a client, those elements are essential.

Sure, it's hard to turn down work, especially when there's backend potential. But as a freelancer, you have to know your value, and be willing to say "no" if you and your client can't agree on it.

So if you're a new freelancer, think about what you charge. Know your bottom line--and know why that's your bottom line. Be prepared to back it up. It will make you a better negotiator, and help you make more money in the meantime.

**New to the blog? Welcome! If you're serious about making your freelance writing business a money-maker, I suggest my freelance classic, Six-Figure Freelancing: The Writer's Guide to Making More Money, Second Edition. 

If you're more interested in getting into ghostwriting and content marketing, I suggest Goodbye Byline, Hello Big Bucks: Make Money Ghostwriting Books, Articles, Blogs and More, Second Edition. 

If you're brand-new to freelancing, Dollars and Deadlines: Make Money Writing Articles for Print and Online Markets walks you through the process of launching your freelance career. 

Finally, if you like your books full of shorter pieces, check out a different format--Writer for Hire: 101 Secrets to Freelance Success is divided into five broad sections to help you make more money regardless of what kind of nonfiction writing you do. 

Forget Coffee, Try TEA: How to Ask for More Money--and Get it!

Hate to negotiate? Scared to ask for more money? You're not alone. I was a lawyer in my former life and it still took me more than 13 months of fulltime freelancing before I summoned up the courage to ask to ask for more money. Now, more than 16 years later, I do it as a matter of course.

But if you're new to freelancing, or if you're wondering how to go about negotiating better rates, here's a simple and effective way to do it. Think TEA:

1. Thank. When you're offered an assignment, express your appreciation. Let her know you're excited about or looking forward to working with her. (i.e., "Thanks so much for thinking of me..." or "I'm glad you want to assign this piece..")

2. Explain. Now give a reason (or more than one) why you're asking for more money. The way you make your case will depend on the assignment, but I've used the following reasons to ask for more:

• A tight (or extremely tight) deadline. (i.e., "I'm happy to take this on, but the deadline means I'm going to have to work nights to meet it...")
• An all-rights contract that the editor won't budge on. (i.e., "I realize you can't change the contract, but this prevents me from ever reselling the story in the future and as a freelancer, I rely on reprints to fund my 401k...")
• A story that requires a lot of legwork. (i.e., "Hey, we both know how hard it can be to find 'real people' sources for this kind of story....")
• An assignment that requires a certain level of expertise or experience. (i.e., "You know that I've been doing health writing for more than a decade, and I'm happy to do all the background research this story will require..." or "I've written more than a dozen book proposals that have sold, so you know I can write a proposal that will capture an editor's attention..."
• A market that I've written for before. (i.e., "You already know I'm going to do a great job for you...")

3. Ask. It's that simple. After you've expressed enthusiasm for and appreciation of the assignment and stated your case, ask the editor if she can "do better". (You don't have to say, "Pay me more, dude!" even if that's what you're thinking.) The way you phrase it will vary, so use language you're comfortable with. Here are some sample scripts, using the above scenarios:

• Tight deadline script: "Thanks so much for thinking of me for this story. I'm happy to take this on, but the deadline means I'm going to have to work some nights to meet it. Considering that, can you boost your rate a bit?"
• All-rights contract script: "I realize you can't change the contract, but this prevents me from ever reselling the story in the future and as a freelancer, I rely on reprints to fund my 401k--I don't have a pension plan. Keeping that in mind, could you do better money-wise?"
• Legwork-heavy story: "Hey, we both know how hard it can be to find 'real people' sources for this kind of story...it can take days just to find the right person! Can you do better than $1/word for that kind of legwork?"
• Complex or complicated assignment script: "You know that I've been doing health writing for more than a decade, and I'm happy to do all the background research this story will require, but this is a story not everyone could write. Can you do better money-wise to reflect my experience?"
• Regular market script: "You know me and my work, and you know I'm going to do a great job for you and turn the story in before deadline. Could we talk about me getting a raise?"

Thank. Explain. Ask. It's that simple. Forget your regular cup of coffee. Try TEA instead, before you say yes...and let me know what happens!

**Hello, readers! I'm happy to report that I've been averaging more than 5,000 hits/month here for the last six months or so. That's awesome! I get lots of emails from people thanking me for my help, and I appreciate that. Now, let me ask for a favor in return--that you consider buying my latest two books, Dollars and Deadlines: Make Money Writing Articles for Print and Online Markets, and Six-Figure Freelancing: The Writer's Guide to Making More Money, Second Edition. 

You'll save money by buying them direct through www.improvisepress.com, my newly-launched publishing company. Use the discount code, IMPROVISEPRESS (all caps, no breaks) for 20 percent off of your order. 

Can't afford to buy the books right now? Then request them from your local library! And thank you for your support of Improvise Press, and this blog. 

Try TEA: The Three-Step Method to Getting Paid More

Hate to negotiate? You're not alone. I was a lawyer in my former life and it still took me more than 13 months of fulltime freelancing before I summoned up the courage to ask to ask for more money. Now, fourteen years later, I do it as a matter of course.

But if you're new to freelancing, or if you're wondering how to go about negotiating better rates, here's a simple and effective way to do it. Think TEA:

1. Thank. When you're offered an assignment, express your appreciation. Let her know you're excited about or looking forward to working with her. (i.e., "Thanks so much for thinking of me..." or "I'm glad you want to assign this piece..")

2. Explain. Now give a reason (or more than one) why you're asking for more money. The way you make your case will depend on the assignment, but I've used the following reasons to ask for more:

• A tight (or extremely tight) deadline. (i.e., "I'm happy to take this on, but the deadline means I'm going to have to work nights to meet it...")
• An all-rights contract that the editor won't budge on. (i.e., "I realize you can't change the contract, but this prevents me from ever reselling the story in the future and as a freelancer, I rely on reprints to fund my 401k...")
• A story that requires a lot of legwork. (i.e., "Hey, we both know how hard it can be to find 'real people' sources for this kind of story....")
• An assignment that requires a certain level of expertise or experience. (i.e., "You know that I've been doing health writing for more than a decade, and I'm happy to do all the background research this story will require..." or "I've written more than a dozen book proposals that have sold, so you know I can write a proposal that will capture an editor's attention..."
• A market that I've written for before. (i.e., "You already know I'm going to do a great job for you...")

3. Ask. It's that simple. After you've expressed enthusiasm for and appreciation of the assignment and stated your case, ask the editor if she can "do better". (You don't have to say, "Pay me more, dude!" even if that's what you're thinking.) The way you phrase it will vary, so use language you're comfortable with. Here are some sample scripts, using the above scenarios:

• Tight deadline script: "Thanks so much for thinking of me for this story. I'm happy to take this on, but the deadline means I'm going to have to work some nights to meet it. Considering that, can you boost your rate a bit?"
• All-rights contract script: "I realize you can't change the contract, but this prevents me from ever reselling the story in the future and as a freelancer, I rely on reprints to fund my 401k--I don't have a pension plan. Keeping that in mind, could you do better money-wise?"
• Legwork-heavy story: "Hey, we both know how hard it can be to find 'real people' sources for this kind of story...it can take days just to find the right person! Can you do better than $1/word for that kind of legwork?"
• Complex or complicated assignment script: "You know that I've been doing health writing for more than a decade, and I'm happy to do all the background research this story will require, but this is a story not everyone could write. Can you do better money-wise to reflect my experience?"
• Regular market script: "You know me and my work, and you know I'm going to do a great job for you and turn the story in before deadline. Could we talk about me getting a raise?"

Thank. Explain. Ask. It's that simple. Try TEA before you say yes...and let me know what happens!

Before you Sign on the Dotted Line: Contract Advice for Freelancers

You just received a contract from a market that's new to you. You flip to the signature page, sign your name, and return it immediately, right?

Wrong!

Don't rush to signed on the dotted line. While many writers simply accept the language in contracts they receive, you can negotiate better ones when you keep these strategies in mind:

• Read it! Believe it or not, many freelancers don’t read the contracts they sign—or they don’t read them closely. (I did this early in my freelance career—I cared about clips, not contracts.) Highlight anything you don’t understand, and if you have questions about what it means, gather more information and ask a lawyer or other freelancer for help.

• Ease the way. I never start a contract negotiation in a hostile manner. In fact, I express how much I appreciate the assignment and let the editor know I’m excited about it. Then I say something like, “but there are a few parts of the contract I’d like to talk to you about…”

• Guard your rights. Much of contracts are boilerplate, but some provisions can affect your bottom line if you’re not careful. Take exclusivity provisions. Many magazines ask for exclusive rights to a story for a certain period of time, say three or six months. But sometimes the provisions seek to prevent you from writing about a similar subject during that time for other publications. If you specialize, like I do, that may be a real problem. Read indemnification clauses carefully, too, to make sure you’re not signing on to insure the publisher if a lawsuit arises out of the story.

• Don’t give it all away—unless you have to. I’m often asked about all-rights contracts. Should you sign them? On principle, no. But I will sign them if the publisher is offering me enough money, and I don’t think I can reprint the story elsewhere. (I did sign them when I was starting out—remember, I wanted clips, connections, and experience and wasn’t as worried about contract issues.)

• Offer an alternative. If a contract asks for all rights, for example, suggest all rights for a limited time—say 90 days—or for first North American serial rights and electronic rights for a limited period of time. I’ve found that many editors are amenable to changes like this, especially when I’m willing to work with them to create an agreement that will make both of us happy

Sure, sometimes editors refuse to change their contracts, and then you have to decide whether to accept an assignment with the contract “as is.” But often editors are willing to make reasonable contract changes—if you’re willing to ask for them. So why not try?

Don't forget to tune in tonight for my free teleseminar on Six-Figure Freelancing...hope to "see" you on the call!

Ask for More Money...and Get It

I’d been freelancing fulltime for more than a year before I summoned up the courage to ask for a better deal than whatever was on the table. Before then, I simply took whatever the editor offered, scampered off, and was grateful. (For example, my first article, which sold to Cosmopolitan in 1996, sold for $850… for 1,300 words. That’s what the editor said she could pay, so I took it. This was at a time when the magazine paid $1/word and up for articles. Did I ask for more? Did I even try? Of course not. I was so thrilled to finally get published I would have sold the piece for $50. Good thing I didn’t tell the editor that.)

With 13 months’ experience came some confidence, however. Also the realization that while I was working 50- to 60-hour weeks, I wasn’t making that much money. Granted, some of my work was for the local newspaper, where I was paid anywhere from $35 to $75 for a story. But another factor was that I kept saying “yes” to any work that came my way without ever asking for more. So I decided to try—and I think you should too.

Feeling nervous? That’s OK. I’m going to make it easy for you with some specific techniques you can try:

Be nice. Meaning, I don’t attack the editor for a less-than-stellar offer. Instead, I express my gratitude to her and remind her that I do want to work with her. Then I ask for more. Try something like, “Thanks so much for thinking of me for this piece—I’m looking forward to working with you on this topic. But considering the length/scope/deadline/insert-reason-hereof the piece, do you think you could do a little better money-wise?”

Give a reason. Bottom line—I want more money. I just do! But that doesn’t give my editor a reason to give it to me. That's why I give her an explanation of why I want more money—the complexity of the story, the number of sources I’ll have to interview, a tight deadline, a piece that requires some expertise in the subject matter, whatever fits. I want to give her a reason to say “yes.” Years ago, an editor I’d worked with before called to assign a 2,000-word piece on oral contraceptives that included five sidebars—and then offered $1/word for it. That’s not a terrible rate, but it wasn’t enough to justify all the time I was going to put into the story. I told her, “I really want to write this piece for you, but obviously this story is going to take me weeks of research and interviews, especially with all the sidebars. I don’t think $1/word is really fair for this particular story. Can you do better than that?” She immediately agreed to $1.50/word, which gave me an extra $1,000 just for opening my mouth. (In retrospect, I realize she agreed too quickly—she probably would have gone even higher. Oops.)

Cite your standard. If the per-word rate is much lower than what you usually get, mention that. Try, “I’d love to write for you, but for this kind of work, I usually get more per word. Is there any way you can do better?”

Prove your worth. You may be surprised to learn that I don’t try to negotiate every offer. If a new editor comes to me with an assignment at a fair rate, I take it. Then I do a great job on the piece…and ask for money the second time around. Remember that whether you’re a new or seasoned writer, the editor’s taking a chance on you—there are plenty of talented freelancers who are lazy about deadlines or turn in sloppy copy. Once I’ve proven myself, I’m in a much better position to ask for a higher per-word rate for the next story. That’s when I ask for a raise, using language like, “I’m so happy we’ll be working together again! Because you’ve worked with me before, you know I’m going to do a good job for you, and turn in the story before deadline. Considering that you know I’ll deliver for you, can we bump up my per-word rate?” (Or, “Can you do better money-wise this time around?”)

Keep the door open. I’ve asked for more money from editors and been turned down. My motto? It never hurts to ask. When an editor says, “I’m sorry, but I can’t do any better,” or “we have a set rate for writers and I can’t change it,” I don’t complain. If I want the assignment, I say yes, and say, “No problem—I understand! It never hurts to ask, right?" And if I don’t want the assignment, I just explain that I can’t take it on but that I do appreciate the editor getting in touch. I never burn a bridge…and you never know where your editor may end up!

So why not try? Yes, it’s easier (and less stressful!) to simply say “yes” or “no” to an offer than to try to negotiate with an editor, but that’s no reason not to try. Take a deep breath, summon your courage, and ask if the editor can do better. You may be surprised at the answer.

One more thing--writers often fear that if they ask for more money, they’ll lose the assignment. In more than 13 years of freelancing, that has never happened to me. The worst case scenario is that you’ll ask for more money, the editor will refuse, and you’ll have to decide whether you’re willing to take the work or not. Best case? You make more money—simply by asking for it.

Your mission, if you choose to accept it, is to ask for more money on your next freelance assignment. Let me know how it turns out. And if you have any negotiating techniques that you’ve found effective, please share them here!