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Michael Sedge:
Secrets of a Marketing Wizard
When Michael Sedge marched into the Bethesda, Maryland, office of The Discovery Channel, he was on the final assault of a nearly one-year campaign. When he walked out of the building, three hours later, he carried a contract worth almost $20,000, including an all-expense-paid, two-week trip to Egypt. "It is not easy breaking into today’s top markets," explains the author of the recently published Marketing Strategies for Writers (Allworth Press). "It often takes long-term planning, nurturing editors, having inside tracks into the audience and needs of a potential client—with emphasis on the word ‘needs.’ A writer must possess not only talent in the craft of writing, but the skill of an undercover agent." In an Entrepreneur magazine profile, this American Society of Journalists and Authors director-at-large was dubbed the "wizard of marketing." And it is easy to see why. From his base in Southern Italy, Sedge has produced nearly 3,000 published articles for clients like Bank of America, MCIWorldcom, Mobil Oil, Newsweek, Robb Report and Time-Life. While some criticize his marketing tactics, others call them revolutionary. Those working in the upper echelons of the publishing industry, however, realize the genius of this self-taught, American author. Even Sol Stein, the illustrious guru of publishing, sought out Sedge when it came time to market his books in Europe. But what is the secret to Michael Sedge’s success? What does he do that other writers don’t? From his office/studio, with a view of Mount Vesuvius overshadowing the ruins of ancient Pompeii, Sedge shed light into the art of marketing one’s work and gaining top paying assignments. What is the most common mistake of writers today? Considering their craft an ‘art form’ rather than a ‘business.’ Until one realizes that they are in the ‘business’ of writing, they are merely doing it as a hobby—and very few people make a living with hobbies. When a writer becomes a business, they must give major consideration to marketing, which takes in everything from networking and gathering inside information on potential clients to logo designs, company names, stationary, and self-promotion. Could you elaborate on these areas? For the past 20 years I have operated under Strawberry Media, Inc. My stationary, business cards, presentation folders, faxes, e-mails, etc., all reflect this. I have not only phone and interview, but also a dedicated fax and a toll-free business telephone number. When I approach a client, I am therefore presenting a business-to-business relationship, not merely a ‘freelance’ offer. Editors, particularly those working for major media and corporations, feel more secure working with a business. On a very basic level, imagine a query coming from a freelance writer. It may result in a "I’d like to see this on spec" response, while a writer working under a business heading will frequently receive an assignment, complete with kill fee. Why? Because no one would consider asking a business to do something on spec. That is not how society works. What other advantages does the "business front" offer? It is traditionally hard for freelance writers to get corporate work while writing businesses are reaping high revenue in this field. My clients in recent years have included Holiday Inn, H&R Block, MCIWorldcom, and Rapid Link Telecommunications. I also sell features regularly to Mobil Oil’s corporate magazine, Compass. In each case, fees started at $1000, whereas a general interest magazine might have paid $200 for the same work. How do you break into such markets? Present yourself as a business, first. That is, put together a professional press kit or presentation package. Second, find out where a potential client might require a writer. The key to success is putting you in the shoes of the client and helping them resolve problems. It sounds easy, but how does one go about finding the needs of corporations or, for that matter, publications? For businesses, you might try asking for an annual report. This would reveal the companies direction for the coming year, as well as what they have done in recent months. Look at what products or services they are trying to sell. Seek out niche markets or areas in which they might expand--always keeping in mind that you must ultimately be their conduit to such markets. For instance, Rapid Link Telecommunications offers an international calling service. Knowing that the U.S. military stationed abroad had a need for such service, I suggested that I produce periodical press releases, based on the company's promotional efforts, and get them published in media outlets around the world that target the U.S. military. The results was an ongoing relationship which generates $1200-$1500 a month. I opened new markets for the company and, at the same time, increased my own workload and revenue. With regard to publications, I focus a great deal of effort on the advertising departments of magazines. Months in advance, a publication's sales staff puts together a media kit--often including the editorial planning schedule--which goes out to potential advertisers. It also includes demographics of the readership. Such information can be like gold in the writer's hands. It gives you insight into the readers as well as an outline of what the editor(s) are going to buy. Using such information, I've sold hundreds of articles to publications large and small. Most editors, however, don't freely distribute this information. Do they? Editors? No. Advertising departments? Yes! You have to remember that publications remain alive, in most cases, through advertising. That is why, in most cases, the advertising department has the largest budget--they MUST get this information out in order to generate ads and, thus, income. But how does a writer convince an advertising department that they need a media kit? After all, they are not going to place ads. You know that. I know that. But the advertising department doesn't know that. We again come back to the business front. I send out letters annually on my Strawberry Media stationary saying, "Moving into the new year, we would like to consider your publication as an avenue for the advertising of our clientele…" This results in an up-to-date media kit for the next year, ninety percent of the time. In your new book, Marketing Strategies for Writers, you say that a writer must also be a marketing warrior, if they are to succeed. Could you give us an example of what you mean? I feel my recent success with The Discovery Channel is a perfect example of guerilla marketing, for writers. It was not by chance that I received the assignment, but rather the results of a long-term, thought-out battle plan. I used networking—much like the military strategist uses spies—to obtain inside information of new developments in the company. This is how I learned of their upcoming book division. Knowing such information allowed me to fill their immediate needs before word got out and competition became overwhelming. I was able to obtain lists of future programming from the advertising department (intelligence reports). My "insiders" also provided me with names, telephone numbers, and e-mail addresses. From these pages I noted Rita Mullin, the newly appointed books director. In the early 1980s I had done work for Time-Life Books. At that time there was a Rita Mullin working for the company. Suddenly—bingo—I had an introduction! Even if she turned out to be a different Rita Mullin, it was a perfectly good way to initiate dialogue. But what was my goal? Other than asking if she was the ex-Time-Life editor, what did I hope to achieve? I had to have a plan, as if I was going into battle. Editors are busy people and there is nothing more distracting than a writer dropping buy "just to say hello." They need ideas, offers, something concrete that will generate enthusiasm and interest long after you've left their office. Having a well defined marketing (battle) plan will, therefore, serve you as well as the editor. In my case the goal was simple: obtain a book contract from Discovery Channel. But what should the subject matter be? I was already armed with the long-term TV program scheduling and, from insider reports, knew the book division would be following this in order to market book/video packages. One of the topics that seemed to leap from the pages, as I reviewed their future program plans, was Cleopatra. I'd recently read of a French explorer who had found the ancient city of the Ptolemies—where Cleopatra and Marc Antony lived out their legendary love affair—submerged in the eastern harbor of Alexandria, Egypt. I allowed my subconscious to work with this for a couple of days and, finally, came up with a simple marketing strategy:
The following day two queries went out. The first was to Rita, the second to Jim Randall, editor of The Compass, Mobil Oil's in-house publication. Jim had purchased several articles from me over the past decide, many dealing with ocean activities. This one seemed right for them and, ultimately, he commissioned the Cleopatra story. Steps one and two accomplished. Rita, it turned out, was the ex-Time-Life editor, making our continued correspondence easier--after all, we shared a common background and, therefore, had mutual respect for one another. Step three accomplished. I intentionally avoided sending useless messages to her, trying to spread them out so as not to become annoying. We discussed her new position: her hopes as book editor, and, very vaguely, the editorial direction. At one point I nonchalantly asked, "Would you mind if I sent you samples of my work, in the event you ever need a writer?" She agreed, setting the stage for step four. Just as battlefield commanders plan out the armor, the aircraft, and the troops that will go into an assault, I spent hours contemplating what would go into the "press kit." Rita was expecting a few clips. What she received was a professionally-printed, four-color folder with a matching business card and stationary inside, a brief (1.5 page) biography highlighting my best work and printed on heavy, cream-toned bond paper, two four-color, feature articles--one on underwater archaeology in Italy, another on iceberg research--and a copy of my book, Commercialization of the Oceans. To be even more impressive, I sent it UPS rather than standard mail. Nearly seven-month had now gone by and my insiders continued to feed me information. To accomplish step five, I had corresponded with Discovery Channel Online editors (the company's Internet site) about article ideas. I had also wedged my way into the PR department by selling three stories on Discovery Channel-related topics—including a profile of the founder and CEO, and two pieces on the company's new travel adventures; and had contacted several company executives as well as foreign offices for quotes. My name, at this point, had become familiar to many Discovery Channel decision-makers. In the fall of 1998, my article In Search of Cleopatra made the cover of The Compass. It was now time for the assault. I sent a message to Rita informing her that I planned to be in the area and would like to meet her. Ten days later, with troops lined up and guns loaded, I sat in the Bethesda offices of Discovery Channel sipping coffee and, lowered my guns to fired the first shot: "How close will book projects follow the TV programming?" "Very close," she replied. "The reason I ask," I said, reaching into my briefcase, "is because I noticed a program on Cleopatra scheduled for next year. I spent several months writing a story for Mobil Oil on the underwater discovery of Cleopatra's palace by French archaeologist Franck Goddio." At that I handed her a copy of the magazine which contained the impressive, full-color, seven-page, cover story. "You've worked with Goddio? This is fabulous. We are planning a book on Cleopatra and a large part of it will cover his work; the archaeological finds!" And you got the book assignment? Actually, I simply smiled, as my smoking gun cooled. The first round was obviously mine. Two weeks later Rita informed me that she would "like to move to the next stage." That is, from mere discussions to putting something on paper. Ultimately, I got the contract and the trip to Egypt. Good planning. Good execution. Good results. Its all part of the marketing war writers must engage in to be successful. You must be one step ahead of the completion and two steps ahead of your client. ------------- Michael Sedge's new book, MARKETING STRATEGIES FOR WRITERS, is available from Allworth Press (1-800-491-2808). It can also be ordered through Amazon.com by clicking here. Mr. Sedge can be contacted by e-mail at pp10013@cybernet.it. |
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Text on this site Copyright © 1998-2007
Absolute Write, all rights reserved.
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Michael is an American Society of Journalists and Authors Director-at-Large,
owner of the Strawberry Media Agency, author of nearly 3000 published articles and several books, including
SUCCESSFUL SYNDICATION (Allworth, Apr 2000), MARKETING STRATEGIES FOR WRITERS (Allworth, Nov. 99),
THE WRITER'S & PHOTOGRAPHER'S GUIDE TO GLOBAL MARKETS (Allworth '98), and Mediterranean/Middle East Editor of SCIENTIFIC AMERICAN
DISCOVERING ARCHAEOLOGY.
