(Continued from Interview With Michael
Meanwell, part 1)
How would you advise a writer who has no experience with business
writing to get his or her start?
Getting started is the hardest. Clients are more willing to take a chance on you if you have a track record - a folio of work.
The best way to begin building a folio is to approach people you know in business. These can be family or friends, and offer your services
at a low cost or, if you have to, at no cost. I am not suggesting you make a career out of working for free. I am only suggesting this
approach if you cannot find paid work.
If you don't know of anyone in business, try various volunteer organizations, churches and social groups.
It's important to remind yourself that you are in a training phase, and that usually comes at a cost. In this case, the cost could be
working for a reduced rate.
Of course, once you start to collect samples, you now have a track record. At the same time, I strongly recommend you seek testimonials
from people you have worked with. This can be a simple, one-page letter written by your client regarding your performance. This is
particularly important in the early days - it will add value to that track record.
Once you have been in business for a while, you may find that you receive referrals and testimonials without even asking for them.
That's what happens to me. This is generally far more powerful than asking for them, and it's a great vote of confidence in your
abilities.
How do you know what to charge?
Essentially there are two ways of charging. You can be a 'price leader' and set the rate, or a 'price follower' and charge the same
as the competition.
When you are starting out, it's best to follow the market and charge the same or a little less, until you gain a reputation.
In addition to knowing what to charge, there are different ways of charging - by the hour or by the project.
I have found that clients generally prefer paying by the project. That way they know how much the job will cost at the start. This is
particularly important when you are starting a new client relationship. You are an unknown quantity to them, so one way you can
gain their trust is to set a rate and stick to it.
Funnily enough, this point was raised by a client of mine just last week. She praised me for charging a flat fee for the production of
media releases.
This is one of the largest companies in Australia, and it uses several agencies for marketing. Most of the larger agencies charge by
the hour, not the project. And, she was telling me, that approach generally blows their budget, especially when there are major
rewrites involved in the job.
My policy is that as long as the client brief does not alter, I will rewrite the release until I get it right. That may take me one draft
or several. Fortunately for me, I usually hit the target with the first draft.
When you look at this from a client viewpoint, it's fair. It may not be fair for the writer to put in all those extra hours. But if you
have misunderstood your client's wishes, then I see that as your problem, not theirs. Would you pay extra for someone else's mistake?
Ironically, these larger agencies don't always see it that way. They charge by the hour, and that means the client pays for rewrite after
rewrite, with the bill coming in several times higher than mine.
What is a "call to action", and why is it so important when
writing advertising material?
When you write a 'call to action', you are asking the reader to do something. That could be to pick up the phone and call a 1800 number.
It may be to fill in a coupon for further information or it could be to click on a link and order an ebook.
Again, this is an area I cover in my ebook. I look at the best call to action devices and word triggers you can use for success.
It's important to remember that when you write any kind of advertising communication, you are a sales person with a pen. Or, at
least, you should be thinking that way.
A sales person, sells the benefits of the goods, and then delivers the 'call to action'. Do you want to pay for that by charge or
check?.. Do you want to pick it up now or lay-away?
As 'sales writers', we can use more sophisticated techniques, but you still need to make a firm case for the reader to act on your 'call to
action'.
Sadly, a fair percentage of ad material either does not have a call to action or has a weak one. Have a look next time at the ads which
you act on versus those that leave you cold. I bet you'll find the latter fails with its call to action.
Are you expected to distribute the releases you write? If so,
where do you find media contacts?
Yes.
As in my country, you will find that there are publicly available media guides or directories, which list every newspaper, magazine,
and radio and TV station in the nation. You can build your own media database with this resource, and then hone it as you liaise with the
media.
Journalists seem to be one of the most transient people on the planet, so it's important to keep your contacts up to date.
And, on a similar note, consider not only who you syndicate material to but how you do it.
With every media release I produce, I invest considerable time selecting the right media markets. There's no point wasting your
clients' money and the media's time sending it to the wrong publications. The more targeted you can make your releases, the
greater the strike rate and the more satisfied your clients will be.
I usually fax and email media releases, and offer to send photos electronically if requested. I have found this to be the best method
for news releases. For features or stories that are not as timely, I usually mail a hard copy with photos and email the copy, so that
journalists can save time copying and pasting the text.
One of the 'tricks' to working with the media is to treat them like your own clients. That's why I go out of my way to make their life
easier. This helps promote a good working relationship and that's a win-win for journalists, myself and, most importantly, my clients.
If approaching a client via email, how do you send samples of your work?
The best approach I have found is to offer to send samples and clips via email, or to scan and post them on a Web site. I say offer to
send samples, rather than discriminately send large files. Some people have slow modems and can spend half an hour or more waiting
for a file of clips to download.
If you are an active, online freelancer, I would recommend included in your email links to a 'cyber folio' on your own Web site. If you
haven't got a Web site, you can sign up for a free one at http://www.homestead.com. This site is reputed by PC magazines to be
the best of the freebies, offering a 16MB site with no banner ads.
I have two hosted web sites, and I also have a couple of Homestead sites as well, so I highly recommend them.
In addition to having your own Web site, freelancers can also maintain a 'virtual resumé' at
http://www.content-exchange.com. They
call this free service a Talent Profile and it allows you to provide a lot of detail about yourself and your services to prospective
clients. Mine is located here.
Anything else you'd like to add?
Quoting my ebook, I believe all you need to be an Enterprising Writer are three things: Drive. Ability. Responsibility.
You need the drive to get things done on time, to brief and within budget; you need to run the extra mile when others can't or won't.
You also need to have the ability to handle a range of projects and a variety of clients' demands, so that you can capitalize on every
opportunity that comes your way.
And, finally, you need to take responsibility for the journey. That means, not only taking responsibility for your business but also for
your life; finding a balance between work and play, and enjoying the fruits of your labor.
Learn more about Michael and order The Enterprising
Writer e-book here: http://www.meanwellstore.com/
