Check, check and double-check

How do you ensure that you never look stupid in your haste to get messages out? Regardless of your personal beliefs about the world, humanity, religion or politics, the bottom line of all business communication is that God is in the details. In other words, if you're operating inside the corporate arena and you're writing stuff (no matter how short, informal or irregular) that other people read, perfect accuracy is part of your job.

“But who cares?” you ask. “People are too busy to notice the little things!” Not true, I'm afraid. When you commit a grammatical misdemeanor in an email, letter, memo, report, proposal or even a tiny text message, there's no going back. You've just gone on record as being either clueless or careless - and both are potentially damaging to you.

And here's the worst part. Your reader doesn't have to be an English teacher, a grammar boffin or a crossword puzzle-addicted troglodyte to spot your errors. Typos, spelling mistakes, inaccuracies and even lazy language usage have a way of dancing a little jig on the page or on the screen, and then grabbing the reader by the throat.

Bottom line? Even if you're in a mad rush to communicate your message, take whatever time there is available to check, check and double-check.

Now I don't expect you to read this advice and slavishly follow it. You've heard all of this stuff before, and it's easier said than done. But I do intend to equip you with a couple of tips so simple and easy to use - starting today, immediately - that you'll understand why people who write for a living, like me, just can't live without them. Here it goes:

1. Proof it cold

If you've just written something, it's floating around in your head and its edges begin to blur with time. So get a little distance. Get up from your chair (yes, actually rise), grab a coffee, chat to a colleague or visit the loo - and then come back and ‘proof it cold'.

2. The gift that is Google

If facts, figures, acronyms or names seem incomplete, don't add up or ‘sound funny', take a minute to check ‘em! Forget the dog; Google is the writer's best friend.

3. Spell-check is not always kind

Spell-check won't recognise a misused word that you spell correctly, e.g. “effect” where “affect” is appropriate. So always double-check your spell-check, which isn't clever enough to know if you mean “off” or “of”, “red” or “read”, or “organism” or “orgasm”.

4. Have a back-up plan

This is obvious, but critical: before cutting or re-writing anything, always make a copy of your original text. You'll need it if you chop too much or get entangled. I know this one seems a bit primary school, but I've chopped excessively in the past and it hurts.

5. Do what the dorks did

Whenever you scan your writing looking for errors, do what the dorks did when you were at school: use a ruler to help you to stay focused on individual sentences and words.

6. Read in reverse

Professional writers know that the brain can and does ‘auto-correct' its own mistakes, so that you don't see them the first few times you scan your text. This is why we often proof-read backwards, from bottom of page to top of page, to zone in on the details.

7. Use your ears

Okay, so you're not a professional writer. But you spend enough time listening to be considered a quasi-professional listener. So if you're confronted with a sentence that stumps you, read it out loud. Your ears (or other people's) will alert you to any errors.

8. And in the end...

Always double-check the last few paragraphs of a page or document. Your editorial brain knows it is approaching the last word and relaxes its vigilance with a drop in concentration - which is why most mistakes tend to sneak in towards the end.

To sum it all up

In a perfect world, you'd never have to edit your own work. But the world's not perfect. Life's not fair. Interest rates are up. Property prices are down. I won't go on. Either way, the decision is yours: spend a little time now, or spend a lot of time later trying to convince your boss to allow you to hold onto your job as a “pubic relations practitioner”.

www.tiffanymarkman.co.za

Web copywriting a different beast to copywriting

Not everyone knows how to do it. Not everyone can do it well. And just because web copywriting and copywriting have one word in common, doesn't make them the same animal. In truth, they're two different beasts altogether.

The industry

Companies large and small are devoting more and more of their marketing budgets to online channels, especially in the current economic environment. They're also looking for results. This means that more companies are measuring their conversion rates and insisting that their webpages, emails and enewsletters be written to maximise sales.

The problem

The problem is that web copywriting and print copywriting are not the same thing. Nor is web copywriting simply about long, pitchy sales letters. What companies desperately need is copywriters who can produce informative, well-structured, optimised, search engine-friendly text; in other words, quality content that attracts more business.

However, very few freelance copywriters have been able to study the unique demands of the online environment - so there aren't that many of us out there. But this article intends to give you enough of an overview to this super skill, to handle at least the very basics yourself. And if you get stuck, contact me (webcopy@tiffanymarkman.co.za).

Basic web copywriting step #1

Write objectively

Surf the web for five minutes and you'll find fluff-filled sites everywhere. Headlines scream, “We're the best!” and “We're the world's largest!” You'll see lots of bolded type, exclamation marks and used-car salesman hype. You'll see tons of big promises and pages of impressive claims. But you won't see anything that will make you want to buy.

This is not good copywriting.

Good copywriting uses facts - not fluff. It doesn't hide the product under the weight of so many words that readers can't see the benefits. Fluffy copy reads horribly, sounds smarmy and people tend to distrust it. What's worse, it increases the reader's cognitive load. And as I always say, he or she has enough stuff to do and to think about.

The experts tell us that promotional language (what we call ‘marketese') places a burden on web users, who must use precious resources, like time and attention, to hack through the exaggeration to get to the facts. In other words, when users read this:

Potchefstroom is filled with internationally recognised tourist attractions!

…their first reaction is “No, it isn't”. This slows them down and distracts them from the rest of the site.

So focus on writing objective copy. It's okay to put ‘power words' in your headlines; research shows that a compelling headline leads to greater conversions. Yes, use benefit statements. If you are the “World's best something” go ahead and say it, if you can back it up. But stay away from fluff. Your readers will thank you.

Basic web copywriting step #2

Use reader copy, not ego copy

How many times have you received an email like this one?

“Thank you for (staying at our hotel, talking to our customer service rep, buying something from us.) We'd like to invite you to fill out a form so we can improve our customer service...”

And how often have you junked it as soon as it hit your inbox?

Chances are, your first thought was, “Why should I spend my time filling out your survey?” And really, why bother? Even if it takes just five minutes, that's five minutes you could spend working, answering email or watching Grey's Anatomy. In short, completing the survey won't benefit you one bit. So why bother?

Even as we laugh at the survey example, how often are we violating the “What's in it for me?” rule in our own writing?

If you think about it, you'll realise that we're often missing the benefit boat. We don't tell our readers what's in it for them. We don't mention how our service will exceed their expectations. We talk about ourselves, our company and our MD's kid's equestrian skills, and then we sit back and hope that our prospects will figure it out.

Think about documents you've created in the past. Do they typically contain more "we” and “our” statements (‘ego copy') than "you" and "your" statements (‘reader copy')? If they do, it's time to translate your ‘ego copy' into ‘reader copy'. Just take each line and turn it into a line that speaks to the reader's interest. For example:

Joe Bloggs & Associates has appointed me as your personal consultant, based on my experience over the last nine years. During this time, I travelled extensively throughout sub-Saharan Africa, and I obtained an in-depth knowledge of the corporate structures, logistics and admin involved in setting up a department like this one.

-->

You may be interested to know that I have nine years' experience in setting up departments like this one, which is why Joe Bloggs & Associates has appointed me as your personal consultant. You'll have the peace of mind that comes with dealing with a person who has an in-depth knowledge of the relevant structures, logistics and admin. experience over the last nine years. During this time,

Basic web copywriting step #3

Tell the reader what you do

One of my biggest irritations when I visit a website for the first time is not being able to figure out what the company does by reading the home page. Some sites are filled with very well-written mission statements, very crafty prose enticing you to buy their product and/or service, bells, whistles and even great graphic design…

But after all that, I still have to ask: “What is it that you do?”

Imagine that someone has arrived at your website and has no idea what you're talking about. Pretend further that this single visitor could make the difference between success and failure for your business. She has no time to waste poking around the site to work out what you're about, so she picks up the phone and demands an explanation.

What do you tell her?

You'd probably explain by giving her the essential information about how the company can help her, and why it perfectly meets her needs, right? And I bet you'd want to explain it in the most compelling way possible, given what's riding on the deal. In a nutshell, that's what Google wants you to do with the content you write for your website.

The bottom line

The sad truth is that most websites need better content, because the general quality of the web copy out there is dismal. But more importantly, your web copy represents you, your product or service and your company, so you simply can't allow it to be poor, mediocre or even just acceptable.

Start by using the three steps above to transform your ideas into objective, reader-focused, informative web content. Spend as much time and energy on it as you can spare - and if you get tangled up, or you need to take things up a notch, email me on webcopy@tiffanymarkman.co.za.

www.tiffanymarkman.co.za

Web copywriting: setting the record straight

As it turns out, web copywriting is a contentious issue - peppered with strongly differing views and hotly defended opinions. At this kitchen of contention, it can be hard to distinguish between the myths and the truths. Also, Google regularly changes the rules. So here are a couple of the latest prevailing myths about web or online copywriting…

Myth 1:

Web copywriting and SEO copywriting are the same thing.

Busted:

SEO copywriting, or to give it its full name, ‘search engine optimisation copywriting', is the technique of writing the text on a webpage in such a way that it a) reads well for the web user and, b) targets specific search terms.

Its purpose is to rank highly in the search engines for the targeted search terms.

The idea behind SEO copywriting is that search engines want genuine content pages and not additional pages (often called ‘doorway pages') that are created for the sole purpose of achieving high rankings.

Practitioners of the search engine copywriting method recommend around 250 viewable words per page, with one, or at most two, targeted search terms strategically placed within the text and other on-page elements.

Web copywriting, though, is more about conciseness, coherence, style and power than it is about strategy and the placement of search terms. In web copywriting, every paragraph, subhead, sentence and word must have its role and purpose.

It's about detail, about sequence, about pace and flow. And when you do it right, the 'construction' becomes invisible and you have a great piece of web copywriting that compels the reader to do what you want them to do.

In short, web copywriting may include SEO copywriting - but the two are not the same thing. Indeed, the practitioners of each are often not the same people.

Myth 2:

Text is text, so it's fine to use existing print copy on the web.

Busted:

Text isn't text, simply because the experience of print and web readers is so different.

On the one hand, print writers don't need to concern themselves with the reader's reading experience. Even after the document becomes galleys and pages, it looks a lot like it did initially: horizontal lines of type. And it looks much the same for everyone.

On the other hand, different web users have different computers, browsers, settings and line speeds. This means that each user experiences a unique and different web reading. With graphics. Without graphics. With sound. Without. In one second. In 100 seconds.

In print, text is everything. Pages are mainly composed of text and the writer's challenge is creating a narrative that holds the reader's interest. On the web, text is not everything. Images and other elements, such as audio, video, links, time and money, can play a role.

Finally, print readers usually read most of the text, if not every word, from front to back. But web users don't: they speed-read or ‘scan'. This is because reading off a computer screen can be uncomfortable and scrolling endlessly downwards can be frustrating.

Bottom line?

Developing website copy usually means writing new materials - and if you want your readers to spend less precious time reading, you must spend more precious time writing.

Myth 3:

Web copywriting requires ‘keyword stuffing' to work well.

Busted:

Have a quick look at this:

“This website provides free cooking tips, so be sure to check out this free cooking tips website if you are interested in free cooking tips.”

Anyone who is loosely familiar with SEO will tell you that an article with this kind of ‘introduction' has been (desperately) optimised for the search term “free cooking tips.” But is this writing approach one that actually works? Nope.

Once readers realise that a website doesn't provide quality content but relies on useless keyword-filled articles, they won't stick around. As a result, only a handful of the site's initial readers will continue to follow the website, if that many.

Let's also look at things from the viewpoint of a visitor who finds a keyword-stuffed website through a search engine. Yes, that person drops by, but once he sees that the content is over-optimised junk, he leaves and never returns.

However, and this is a biggie, there's no reason to assume that SEO copywriting and good web copywriting should be mutually exclusive. The answer is to generate copy that helps to improve search engine rankings while still ensuring that those all-powerful human visitors are compelled to stick around.

Yes, search engine positioning is important. But what's also important is creating compelling, high-value text that resonates with the target market - because the search engines don't pay the bills nearly as well as the human customers do.

Now what?

So these three myths have been busted - but now what?

It's clear that what's needed is specially written, smooth-moving, subtly optimised web copy that speaks to the reader's tendency to scan. And one of the best ways to create this elusive copy is by producing what we call ‘flagship content', based on a relevant, compelling and useful cornerstone around which all of the copy can be built.

A cornerstone is something that is basic, essential, indispensable; it's what people need to know in order to make use of a website and do business with a particular company. And flagship content with a clear and powerful cornerstone requires:

• Keyword phrases
  
  Choose the most appropriate keyword phrase. Ask yourself, ‘What is the relevant question asked by searchers, that my content and the business will answer?' For example, a divorce lawyer in Sandton, Johannesburg will benefit very little from ranking highly for the word “lawyer” (and good luck to him!), but a specific keyword phrase based on geography and specialty will draw the right traffic (“Sandton divorce lawyer”).
  
  
• Synonyms
  
  Good web copy should include words that are related to, as well as synonyms for, the keyword phrases that best represent you or your organisation. Rather than endlessly repeating the same words (and scaring your readers away), assume that different web users will use different, contextually-related words to find what they're looking for. If we go back to the lawyer example, you could weave phrases such as ‘Northern suburbs', ‘Johannesburg', ‘attorney', ‘advocate', and ‘ante-nuptial contract' into your content.
  
  
• Specificity
  
  One of the characteristics of flagship web copy is the use of specific, descriptive words instead of vague generalities: ‘Has your marriage dissolved due to infidelity or an extra-marital affair?' rather than ‘Having third-party problems?' Specificity helps readers because it clearly demonstrates relevancy and makes the copy more dynamic. But be sure to use your specific keywords only when feasible within the broader context of the copy, otherwise you'll be faced with the hideous keyword stuffing dilemma.
  
  www.tiffanymarkman.co.za
  

The final countdown to becoming a killer freelancer

Okay, okay - it's finally here... Part III in my series on ‘How to become a killer freelancer'. This is the scary bit: the business planning gargoyle that looms over your head; the tax gremlins that keep you awake at night; the BEE hobbits at the bottom of the garden; the time-keeping jungle. So allow me to turn on some lights for you, and let's banish the beasties.

1. Correct me if I'm wrong...

Correct me if I'm wrong: you entered the creative industry (writing, design, illustration, photography, etc.) because numbers weren't really your thing. Because you didn't want to be a bookkeeper or a tax accountant or an administrator. Because ideas excite you. Well, guess what? As a freelancer, numbers, books, tax and admin are the realities of your world.

Yes, your day job is the sexy stuff... but after hours, or at night, or over weekends, you're a part-time bean-counter - and the more organised you become (or pay others to be, on your behalf), the more professional your offering and the greater your ultimate success.

So let's look at some of the must-haves, for those of you who are starting out or those who've been doing this a while and would like to jack things up.

2. The business plan gargoyle

The beautiful part of a business plan is that it's never too late to write one. If you're a newbie, do it now. It's a valuable tool in defining:

1. who your market is (How much do they earn? Where do they live?),
   
2. how you'll sell yourself and your service,
   
3. what exactly your service is (this is a biggie),
   
4. where you'll be located (think about storage and competition),
   
5. potential growth areas,
   
6. your business structure,
   
7. the overheads (resources, equipment, materials, etc.) you're in for,
   
8. what your starting rates should be,
   
9. what the competition's doing, and
   
10. what your policies and procedures will be.

Next step? Consolidate the info you've gathered and sit down to write the bleeding thing. Keep it clear and concise. Present it logically, powerfully and enthusiastically. And divide it into three core areas: the personal profile, the business profile and the financial package (the latter especially if you're going to apply for finance).

3. Sole prop vs CC: my bias

First let me say that, as far as I know, the CC is on its way out. Be that as it may, if you're starting out, a sole prop is infinitely preferable.

It's easier (and less terrifying, for us right-brainers) to initiate and run; it's cheaper (no auditors, financial statements, company tax); and there are no formal procedures (beyond tax obligations, which I'll get to shortly). But you should know that sole proprietors don't have limited liability. In other words, your assets are indistinct from the business and they can be attached if the business goes bang.

In a close corporation or CC, you benefit from owning a legal identity that is distinct from its members and that allows its members limited liability, provided that sureties have been signed. My advice? Chat to an accountant or consultant who has an in-depth understanding of the freelance arena, and make an informed decision based on your abilities, potential liabilities, tax implications, etc.

4. Tackling the tax gremlin

Your tax obligation will depend on the form of business you select. But for the purposes of my (100% non-FICA compliant and non-expert, but 100% well-intended) advice, let's say you're a sole prop. You'll have to register as a provisional tax-payer who pays a combination of personal and professional income to the taxman twice a year, in February and in August. It's simple, really.

• Get a ‘freelance-friendly accountant' and ask for your allowable deductions (you'll also find a basic - again, non-expert - list on my blog: http://tiffanymarkmantraining.blogspot.com). Get into the habit of keeping slips for everything, even parking, and sort 'em once a month, or you'll drown.
  
  
• Put a sum (work on what you'd pay if you earned a salary) into your bond or a savings pocket each month, so that when your accountant calls and asks for your first provisional whack of cash, you don't want to cry.
  
  
• And remember: if you're paying what feels like a ton of tax, it's a sign that you're making money. Just divide it by the number of months in the year, and you'll feel better. Because of your income-earning-related expenses, you will land up paying less than a salaried person. Promise.

5. Befriending the BEE hobbit

Heard horror stories about pale one-person-shows who can't crack it in the contemporary corporate world, because tenders, pitches and briefs don't go to people without BEE scorecards? Guess what? It's your lucky day.

Empowerdex (or any financial officer) can help to certify you as an Exempted Micro Enterprise. As an EME with an annual turnover of R5 million or less (yeah, like freelancers could earn more than that), you can have your empowered status confirmed with a nifty ‘Level Four Contributor' certificate, for the sum of only R500-odd for a six-month certification and R1000-odd for a year's. Yee-ha!

6. The itchy Ts & Cs

I'm always surprised at how many freelancers successfully run their businesses without formal policies in place - until I hear sad tales about this client who took 80 hours of work and refused to pay for it, or that client who asked for changes and changes and changes, and then killed the job, without coughing up a cent.

But allow me my disclaimer, nonetheless:

If you have a body of regular clients you've built relationships with, and you'd feel ‘funny' subjecting them to a contract, a signed CE or even a half page of terms and conditions, don't read on. However, if you're new to the biz, tired of being cheated ('cos, yes, there are cheats out there) or keen on another, more hardcore way of approaching things, this is for you...

Based on Ts and Cs you've seen elsewhere (first consultation free, COD, 30 days, discounts for immediate payment, interest charges on late payment, 50% deposits, usage clauses, copyright clauses, etc.), decide on your terms and be firm about them. Be warned: a new client who is antsy about committing to a CE, or who quibbles endlessly over basic Ts and Cs, will be antsy when it comes to paying your bill. I've insisted on deposits for amounts as small as R500 - it's a matter of policy.

Tip: a reasonably good resource is Free Legal Docs.

Remember, also, that it is possible to have different terms for different types of clients. When ad agencies out-source work to me, I only get paid by them once they've been paid by client - and agencies' terms can be 30 or 60 days. My international clients take forever to pay, which I anticipate. And my regulars need only commit in an email; no deposit or signed CE required. Discuss this with your clients in advance, so you're both clear on where you stand.

7. The time-keeping jungle

As I've explained in previous articles, your quoting options could be per item, per hour or per job. But however you decide to do it, keep good records of the time you spend on each job. There's more to this than making a note of the hours you spend actually working, so break it down like this: Time spent on administration + time spent on research + time spent on creative. Do this for each and every job.

Under administration, you add the time spent on phone calls and emails, as well as the time spent setting up the project, timekeeping and invoicing. Under research, you estimate the time it'll take you to understand the project (client, industry, brief, deliverables) before you get going. Under creative, you estimate actual work time, and add a few extra hours in anticipation of revisions (I offer these for free).

When you take timekeeping seriously, you'll be in a much better position to estimate jobs accurately. There are several key benefits here:

• More accurate estimates for new jobs, whether you bill per hour or per job.
  
• Less chance of underestimating future jobs and losing money on time spent.
  
• Satisfied clients who'll appreciate that there's certainty in your estimates.

8. Knowing your value

A lady had a blocked pipe and called a plumber. He arrived, she pointed to the pipe, and he kicked it. The water started running immediately. He said, “That'll be R350”, to which she replied, “How can you charge me R350 for fixing this pipe? All you did was kick it!” And the plumber answered, “I'm not charging you R350 for kicking it; I'm charging you R350 for knowing where to kick it.” Moral of the story: know your value.

There remains a lot to say. So look out for future pieces on: negotiating usage, sourcing international clients, marketing and networking, freelance-supportive technology, contracts, VAT and more. And in the interim? Be a killer freelancer.

www.tiffanymarkman.co.za

More on becoming a killer freelancer

Whether you're a) already freelancing and looking for a more substantial knowledge base to back you up, b) entirely new to freelancing and wanting to get going or c) still thinking about beginning a freelance career, here's the second in my three-part series.

1. Finding your niche

As you probably know, successful freelancers are experts in a particular area. One graphic designer might be a specialist in corporate ID, or in web design. Another might work across several media, but specialise in visual genius for the healthcare industry.

One way or another, if you want to succeed, you must establish yourself as an expert in what you do. You need your name to jump to mind when a particular job or challenge arises. "Direct mail for the events industry? You should get in touch with Daniel. That's what he does." (Insert your own name and area of specialisation where appropriate.)

You can't get that kind of referral if you're someone who handles just about anything in any medium. Nobody is going to believe you're an expert in everything (it's that ‘jack-of-all-trades' problem). So how do you determine a viable 'niche'? You have three choices:

Industry niche

Spend time working in, and getting to know, a particular industry. For years, I worked with clients in the travel industry. Most of my clients were travel and tour operators. I wrote direct mail, ads, brochures, web copy and scripts. I wrote anything, as long as it was about travel. That was my niche. And people knew I was knowledgeable in that area, so they came to me: “Hey, Tiffany, apparently you're the person to talk to...”

Channel niche

Make a particular channel or medium your specialty. After years of writing for the travel industry (very colourful, descriptive writing), I decided to specialise as a web copywriter. I wrote web copy, e-newsletters and mailers - things that would be read on-screen (very clean, clear, straightforward writing). I was a web copy specialist. And I wrote for a whole lot of different industries: travel, financial services, retail, HR, FMCGs and NGOs.

Multi-Niche

When you multi-niche, you design a specialty out of serving a single industry through a particular medium. For instance, writing web copy for the travel industry. And only writing web copy for the travel industry. Granted, there'll be less work out there, but a) you can charge more if you're one of only a few suppliers who do it and b) you'll get a lot of it. It'll also be easier to explain what you do (which can be interesting when you start out).

2. Building your brand

Too many freelancers believe that creating a brand starts and ends with the creation of a pretty logo and a glossy business card. Not true. The final expression of your brand, in words and images, comes right at the end of the process of brand creation.

Why? Because as a freelancer, your brand is you.

You can't create your business without putting yourself out there - it's your skills people will be paying for. So you must create your brand by finding the best ways to express your vision, goals and strengths. There are four elements to consider when tackling this:

What are your strengths?

You need to build your brand around your strengths. When people hear or read your name, you want them to associate your name with what you do best.

There is an issue of clarity here, too. You need to be specific about where your core strengths lie. You don't want people reading your name and thinking, "Yes, I've heard the name. A good photographer, apparently. But I really don't know what she's good at."

So take some time to identify what you're best at. And if there are a few areas in which you shine, keep that list in mind and see which tie in best with the next three elements.

What are your goals?

It is possible to find yourself a prisoner of your own brand.

We see this with actors. An actor may become known for his roles in action movies. Being an action hero becomes an important part of his brand. But what happens if he wants to act in a serious drama? He may have the talent, but he will come up against barriers to those kinds of roles - because he's is branded as an action hero.

The same things can happen with your freelance career. So make sure the brand positioning you choose fits your own career goals. If you don't, you may find yourself the prisoner of a brand that isn't going to take you where you want to go.

Stay in touch with your passions

When I started out, one of my first (and subsequently biggest) clients took me on not because I had any experience in doing what he wanted, but because I was excited about giving it a shot - and he could tell how much I loved my job. Yup, passion is contagious. Prospective clients will love to hear you speaking with genuine enthusiasm about your work. It makes a big difference. So make sure you pick a strength that is also a passion.

Fit your brand with your personality

What kind of person are you? Are you an extrovert? Are you outgoing and noisy? Are you a peoples' person? Or are you more of a quiet, behind-the-scenes type of person? Whatever your personality, build a brand that fits. Because if you're shy and have a fear of public speaking, it's no good to build a brand that will imply that you're confident and happy to speak at large business meetings, conferences or other public events.

Also, make sure that the brand you create fits in with your morals and values. Don't try to build a career in an area you feel uneasy about. Here's an example: I was once asked to write soft porn for a local mag. The money was unbelievable, but I couldn't bring myself to accept the brief. I felt weird about it. So I said ‘No' - you're allowed to say ‘No', you know.

3. Getting that first client

The biggest question I get from those who are just starting out, or thinking about it, is, "How do I get my first client?" And that fear can be greater than the challenge itself.

There are a couple of ways to get that first client. One is to do a job ‘on spec'. That is, to take a job without being paid a fee. Only if the client likes and uses the work, do you get paid for it. You get the experience and he avoids the risk inherent in using a ‘newbie'. This may sound like a strange thing to do, but working on spec has two benefits:

• You get valuable experience working for a real client.
  
• You get some work to add to your freelance portfolio.

That second point is key. Add a few spec jobs to your portfolio and suddenly you have something to show when you're pitching for a paid client. As with many aspects of building your business, there are good and bad ways to go about working on spec.

But I must issue a disclaimer: once you're up and running, with a nice client base and regular work, no more spec! There are plenty clients out there who like to use brilliant work without paying for it, and if you have a good business, that won't work for you.

4. Maintaining your marketing

I've been on my own as a freelancer for four years and in the industry for nine, and in that time, I don't think I've a single quiet month. (Except possibly for the two weeks between Christmas and early Jan.) Be that as it may, I'm always marketing.

Whether you're new to the biz or an old hand, keep looking for new clients - even when you have as much work as you can handle. Here's why: Things can change. One day it looks like you have all the work you can tolerate and the next day, a job disappears.

Bottom line: no job (and no client) is ever guaranteed. There are always reasons why you can lose a job. And sometimes quite suddenly. Through no fault of your own.

So protect yourself by working on new relationships all the time. You should be upfront if you can't do any work right away. But you can keep talking and building the relationship, and when you have some time free, you have a hot lead you can contact straight away.

5. Extra tip: Dealing with ‘cheapie versions' of you

Do you really want to compete with someone in India who charges just R10 to write a 1000-word article? Do you really want to pitch for a design job with 250 other people, when the budget is sinful? Do you really want to lower and lower and lower your rates?

If you're just starting out, I'm afraid to say, “Yes, you do.” You really want to do everything you can to get the experience, even if it means losing out on the zeroes.

But once you're a little more established, remember this: when you try to compete on price, you are jumping into a bottomless pit. Your earnings will decline, you'll work harder and harder and you'll feel terrible about yourself and your business.

So never compete with others on price. Set your rates according to the quality and value of what you do and your clients will respect you more for knowing your own worth.

Next time: ‘business planning', ‘navigating the admin jungle', ‘the benefits of accurate time-keeping' and ‘the art and science of a contract'.

www.tiffanymarkman.co.za

Recession? Do more marketing!

During a recession, like the one South Africa’s looking at right now, scared businesses tend to cut back on marketing expenses. ‘After all,’ they say, ‘most customers are becoming more cautious about spending, so let’s conserve our resources, wait out the downturn and have funds to spend when the economy picks up.’ Not true, I’m afraid.

Spend only 1 minute reading the info below and find out what to do instead.

The opposite action is the right one. Smart businesses should expand during a recession, because there will be a shakeout caused by the scared businesses shrinking. During any recession, there are always more than enough clients out there to keep you busy if you continue to market, and market smartly. So capitalise on your strengths, make sure that everyone knows what they are and make the most of your relationships.

Where do I start?

Over the years, hundreds of studies have been conducted to prove that you should maintain your advertising during an economic downturn. The key is to do more with less. Rigorously question your marketing strategy. What is it intended to achieve? How will it encourage brand loyalty? What barrier to purchase does it address? Will it make the brand seem worth paying more for? Or will it create the impression that this is a cheap brand? Because the stakes are higher when money is tight, it's important that you feel confident your investment will provide a good return.

Your focus

Research also suggests that your focus shouldn't be aspirational, optimistic or light-hearted. Rather offer reassurance, emphasise value and empower consumers with information. Now is the time for long copy ads, advertorials and directing your target market to your website – provided that it is rich with info. During a recession, distill your message into essential copy points that best convey your offering.

Build your case

The bottom line? Protect your brand by building a powerful case for its uniqueness. Focus on distinctive attributes, unique enough to keep your customers loyal when budgets are tight. A strong strategy will not only carry you through tough times; it will also strengthen your market position when the shackles of recession are removed. Also, this is an excellent time to refresh your online keyword marketing, because words like ‘quality’, ‘value’, ‘reliability’ and ‘best price’ will become prevalent in online searches.

Above all, stay positive, don’t panic and turn the tide in your favour. If you behave like the scared businesses, or target them, you will contract – but if you market to the smart businesses during a recession, you will continue to prosper. It's up to you.

www.tiffanymarkman.co.za

How to become a killer freelancer

Whether you're a) already freelancing and looking for a more substantial knowledge base to back you up, b) entirely new to freelancing and wanting to get going or c) still thinking about beginning a freelance career, here, in the first of a three part series, is something for nothing. Enjoy.

1. Just so we're on the same page

Freelancing defined

As you know, a freelancer is a person who is self-employed. And in any given profession, freelancers sell or contract their work to clients. They're often paid by the hour - although jobs with a fixed rate to complete a fixed project are both possible and common, depending on the freelancer's field of expertise.

"A freelancer gets paid per word, per piece or perhaps." - Robert Benchley

Why freelance?

Being a freelancer can be scarily different to being employed. It's not for everyone. What's in it for you? Some of the most common benefits are:

1. Being your own boss: this is great for those who like their own autonomy.
   
2. More money: freelancers are usually paid more than salaried employees.
   
3. Freedom: freelancers can, to varying degrees, choose when and where to work.
   
4. Variety: by moving from company to company and contract to contract, freelancers can develop varied experience and impressive CVs.
   
5. Less tax: freelancers who take good advice can cut down on their tax.
   

Why not freelance?

Of course, if freelancing were such an easy way to earn a living, everyone would do it - which would defeat the purpose altogether. So what are some of the pitfalls?

1. Less security: freelancers are not protected in the same ways as employees.
   
2. Uncertainty: there are no guarantees of new work, money or benefits.
   
3. Hassle: because you're running your own business, there are forms to complete, rules to obey and accounts to keep.
   
4. Being on your own: as well as the possibility of being lonely, being your own boss means, for example, that nobody pays you when you take a holiday or you're sick.
   
5. Longer hours: time is money, so if you're a clock-watcher, do something else.
   

“In the freelance world, you start every day at zero.” - Martha Stewart

Useful qualities

Successful freelancing means being able to say ‘Yes' quickly - and ‘No' when necessary. Time management skills are important and organisational flair is vital. What's more, you need to have a finger in accounting, advertising, promotion, organisation, time management, strategic planning, operations and - oh, yes - the work itself. But fret not. All this sounds hideous at the start but becomes second nature with time, practice, a good few serious stuff-ups, and good advice from other freelancers.

What's in it for the client?

Why would a client choose you over some sorry soul who's already in the building and already costing money? Well, there are several reasons (this is valuable info for those times you'll have to convince a client to use you...)

1. Freelancers are usually more flexible than permanent staff, in terms of hours.
   
2. Freelancers are easier to hire and fire - and are not a long-term commitment.
   
3. There's no need to worry about PAYE, SITE or other tax complications.
   
4. Companies save money: no sick pay, holiday pay or maternity leave.
   
5. Freelancers offer access to diverse skills that the in-house team may not have.
   
6. Freelancers complete small or ad hoc tasks that don't require a full-time employee.
   
7. Freelance work may help companies to satisfy BEE or equity requirements.
   

2. How to get started

Place a value on your time

There are lots of ways to charge for freelance jobs. If you're working as a copywriter and writing a brochure, a sales letter, a webpage or anything else, you'll usually end up billing by the job or by the hour.

If you bill by the job, it's because you'll have negotiated a fixed fee before you started. For instance, you might have agreed on R350 to rewrite a webpage. In that situation, you're paid the same amount, whether the job takes you three hours or three weeks.

Clients often prefer a fixed cost estimate (CE) like this, because there's certainty about the total of the final invoice. But for a freelancer, especially a new one, estimating a fixed fee in advance can be unnerving.

Unless you know your client very well, and you know accurately how much time various types of jobs will take you, you can end up wasting time (and losing money) if the job takes longer than you'd anticipated.

So try to gauge how many hours you'll need, and then add a few extra hours for unforeseen changes. Multiply the number of hours by your hourly rate. At this point you may look at the figure and think it's a little too high or low… and change it accordingly.

But at the outset, when estimating any job, start with how long the job will take.

Create a basic rate card

Include pricing information, what you guarantee (if anything), turnaround time, payment terms and your general procedure. Granted, you may not have a general procedure just yet, but you will soon and clients need to know how you're going to work with them.

Here's an example of a useful note to include:

Please note that all quotations include one set of reasonable changes by client (vocab tweaks or factual revisions), in anticipation of the final sign-off of the briefed job.

Gather work samples

Not a single freelance job to your name? No problem. Take a look at a print ad in your favourite magazine. If you're looking for copywriting work, rewrite the ad. If you're looking for graphic design work, recreate it with different graphics. This will show a prospective client that you have a creative mind. Be upfront about it, though.

Remember: plenty of people have made it in this business with nothing but sample ads in their portfolio, prior to their first project.

Give stuff away (really)

Offer your services to friends and family, for free to begin with, in return for feedback in the form of written testimonials about your work, service, attitude, etc. This way, you get experience, a basic portfolio and something to show prospective clients when you begin things formally - and your friends and family get something for nothing.

Later, go beyond hourly billing

All too often, freelancers simply set a range of fees for their work and then estimate and invoice accordingly. And if you're new to freelancing, your hourly rate probably reflects the fact that you don't have a great deal of experience yet. But there's a limitation here.

When you estimate jobs according to an hourly rate or typical project fee, you will usually find yourself ignoring a whole different element - and that is the value of your work and expertise.

When you estimate and bill according to your value, you can start making a great deal more money than you did before. But you do need to know where your core value lies: at the intersection of your greatest area of expertise and a high-value demand.

Next time: ‘finding your niche', ‘building your brand' and ‘getting that first client'.

www.tiffanymarkman.co.za

Poking internal comms with a stick

If you talk to your company’s employees, this is for you.

According to the experts, there’s never been a better time to be in internal communication. But that’s a little surprising in light of some recent research.

Communication? What for?

The research shows that communication over the last 20 years hasn’t improved employee satisfaction by even 1%. That’s a lot of money – billions of Rands – spent to achieve 0% impact (Source: Towers Perrin & Tom Lee).

In addition, 50% of employees don’t know what strategy they’re supposed to be following – and that’s not the 50% at the top of the organisation; it’s the 50% at the bottom. The people who deal with clients and customers.

This is the case because what people want from their company’s internal communication is constantly changing and their standards are constantly rising.

In the past, they wanted newsletters. So you gave them newsletters. Then they wanted blogs. So they got blogs. Now they don’t have time to read newsletters or blogs – they want Facebook. Fireside chats. Podcasts. Text messages.

Passion plus clarity = action

To engage employees, it’s important to match their passion and willingness to help with clarity about the direction they’re moving in – because it doesn’t help if people say, ‘I don’t know what we’re doing, but I know I’m helping to get us there…’

Ensure that you know what your people need to do for you (the end), and then let them know what you need them to do for you. After all, clarity is a big motivator.

Communication should be the means to an end – not the end itself. So start at the end; in other words, what you want to achieve, and use communication to get there. Don’t do what Bill Quirke, UK-based internal comms guru, calls ‘confusing people expensively’.

The level of audience interest

Another big motivator is relevance. If you’re able to match the importance of the info to employees, with its importance to the business, then they start listening. Think about a short update on what’s happening with your company’s pension funds – everyone will read it because it’s important to them. But they don’t care about your MD’s MBA…

So always ask yourself: what’s the level of audience interest going to be?

Specifics and chats win the day!

More than anything else, be specific. People a) don’t like and b) don’t understand abstraction.

A

Let’s look at a) first. The moment you start sounding posh, they stop listening. Why is that? Because, psychologically, people are happy to chat, but they don’t really want to communicate. Communication feels like hard work.

It’s unsurprising then that, at the moment, formal media like (newsletters) have a mere 7% impact on employee behaviour, while chats with leaders over the coffee pot have a massive 61% impact on employee behaviour (Source: Towers Perrin & Tom Lee).

It’s also unsurprising that your employees are judging all of your communication by asking themselves, “How long is this going to take me to read?’ And remember, ‘How long is this going to take?’ is code for: ‘How much of my time are you going to waste?’

B

Now let’s look at b): people don’t understand you when you’re abstract.

This is why, when MacDonalds changed its internal communication approach, it stopped telling its staff to “Generate more volumes at the customer interface” and started telling them to ask customers, “Would you like a drink with that?”

They moved from the general to the specific; from the abstract to the concrete.

So if you want your frontline staff to answer the telephone in three rings, don’t tell them to “Be more pro-active at the telephonic coalface”; tell them to “Answer the telephone in three rings” and give them a reason!

Because customers will spend more money with a company that wants to talk to them.

Getting to the point

This brings us to the issue of getting to the point. It’s time for you to think of time, not paper. The average corporate individual receives 178 messages a day and corporate communication grows by 2% a month. That’s a lot of paper.

So even if you think you need a 55-page newsletter to explain something to your employees, just because it’s complicated, think of the news-readers who unpack the situation in the Middle East, which is really complicated. They take only two minutes.

Write to be said, not to be read. If people need additional info or context, they’ll go and look for it. That’s what Google, your intranet or your website are for.

www.tiffanymarkman.co.za

Do you know who you’re talking to?

Experts estimate that up to 50% of your time at work is spent on written communication, even if that’s not strictly your job. So it’s absolutely vital to develop your writing skills – not only because of the time involved, but also because your success may depend on it.

One of these skills is reader analysis or, more specifically, knowing who you’re talking to so you can a) give them what they need, b) them to do what you want them to, and c) let them get on with their lives. After all, they’re busy and important, aren’t they?

Step 1: Define your readers

Your readers will evaluate your writing according to how well it answers these questions:

1. How usable is the information?
2. How relevant and timely is it?
3. How long will it take me to read?

So when putting pen to paper or finger to keyboard, stop for a moment and ask yourself:

1. Who will be the primary readers of this document?
2. Who will be the secondary readers?
3. And, will there be any other readers?

The key is to focus on the primary readers, with slight attention to the secondary readers. Obviously, there’s almost no way of knowing who else may stumble across your document. Here are some things to think about when defining your audience:

· Can I describe my readers?
· What is their position in the family, in the company or in general?
· What is their background?
· How much do they already know about this particular topic?
· What are their information needs?
· Can I guess what their feelings toward my document will be?

Once you have a basic picture of your readers, it’s time to understand how they operate.

Step 2: Understand how readers read

Your readers seldom read your offerings word by word. They scan, choosing individual keywords, sentences and paragraphs of interest, and skimming over the rest. Morkes and Nielsen claim that only 16% of readers read every word on a new page; 79% scan.

Why scan?

1. First, it can be uncomfortable for the eyes to read reams of text. Think about it.
2. Second, the reading experience fosters a certain amount of impatience.
3. Third, most readers are ‘busy and important’ – they want to get to the facts.

Keeping this in mind, there’s a critical writing tip for all business communicators:

Put the conclusion first!

The Inverted Pyramid is the style of writing developed by newspapers – another medium where readers use scanning. Using this style, journalists put the most important bits of the story at the beginning, so the first sentence conveys the most important ideas:

"After a long debate, Parliament voted to increase taxes by 10 percent.”

In other words, journalists start the article with the conclusion, followed by the most important supporting information and then the background. There are two reasons for using the same method in your writing:

1. Newspaper readers may not read the whole story, but we know that 79% of your readers don’t read the whole story, so we want them to get the most important information first.

2. Stories in print need to fit into a given space and they're cut from the bottom, where the waffle is. Similarly, long documents are a death-trap, so it's a good idea to put the most important information first.

Whatever your background is, it’s fairly easy to grasp news writing if you imagine how a friend would tell you about a shooting he or she has just witnessed. Would your friend say this…?

“I’d just come from Woolworths, where I’d bought fruit, wine and some really nice French bread. I was walking towards my car. Suddenly, a car drove by. Somebody got out and pointed a gun…”

Highly unlikely. Anxious to share the news, your friend would probably get right to the point: “A man was just shot in the back outside Woolworths!”

When someone is waving a loaded gun, even a non-journalist instinctively knows how to construct the lead. In your friend’s report are responses to the six questions that news reports are traditionally expected to answer: who, what, when, where, why and how.

Bottom line? Your job may not involve actual news writing, but you should still follow the ‘six question’ process when analysing information and deciding how to proceed.

And in short, before applying your mind (or your fingers) to a piece of communication, be sure that you: have identified your readers, are able to write from the readers’ collective point of view, know why you’re writing and have started with the best bit: the end bit.

www.tiffanymarkman.co.za

6 easy ways to write with power for e-mails and the web

Unlike other types of communication, web copy often asks the reader to take a specific action: buy something, sign up for something, pick up the phone and call – and to do it now rather than later. It’s different to the ads in magazines and on TV, because its purpose is not to create a branding image, but to get a response.

To reiterate, the job of web writing is not to be cute, clever or creative. As legendary copywriter, David Ogilvy, said: "I don’t regard advertising as entertainment or an art form. I don't want you to tell me that you find it creative. I want you to find it so interesting that you'll buy the product!"

That’s why, with all electronic writing, every paragraph, sub-head, sentence and word must have its role and purpose. It's about detail, about sequence, about pace and flow. And when you do it right, the 'construction' becomes invisible and you have a great piece of writing that compels the reader to do what you want them to do.

Here’s how to do it right:

1. Make it easy for the reader

The surfing experience, with a million other websites competing for readers’ attention, makes every pitch an all-or-nothing gamble. Web users can often get what they want from a website other than yours, but if you can show them what they’re looking for in three clicks (15 seconds, max), you’ve got a good site.

2. Avoid shovel-ware

Hypertext links and other clever cyber-inventions mean that there are no space constraints on the web, so organisations have fallen into the habit of shovelling every little bit of copy they have onto their websites.

That’s why lot of contemporary web copy is referred to as ‘shovel-ware’: electronic products that are paper products converted to electronic form. Shovel-ware makes sites seem more substantial and informative but it’s inherently illogical, because the busy web user has limited time and limited patience.

In addition, if you simply move your print documents onto webpages, you’re not using the medium to its best advantage. For this reason, developing e-mail or website copy usually means writing new materials.

3. Write positively

Use positive, definite and specific wording instead of negative, indefinite or vague wording. Say: “Our projects always run smoothly.” not “Our projects seldom take long.” Say: “We believe in value for money.” not “We don’t believe in high prices.”

Why do this? Because readers respond better to positive ideas than negative ones, while words like ‘do not’, ‘seldom’, ‘rarely’ or ‘stop’ can cause unfavourable reactions. Also beware of: ‘unfortunately, unable, cannot, mistake, problem, error, loss, failure’.

And if you have to present negative information, reduce its impact by painting a positive picture. Emphasise what something is, not what it is not. Highlight what the organisation can and will do, not what it cannot. Open with action, not apology or justification.

4. Keep it short

As a rule, a web article should comprise 50% (or less!) of the word count of a printed piece. So, when translating a print document into a web document, cut anything that's not essential and say what you need to in the fewest words possible.

Short sentences are better than long sentences, so be frugal. Avoid empty chatter like welcome text or vague ‘thank you’s. And steer clear of clever headings and catchy but meaningless phrases that readers must think about to understand.

5. Remember that web users can still press Print

Write short, but don’t ‘dumb down’ a message just to be obliging. Readers are more likely to thank you for providing the necessary depth than to grumble about page length. Luckily, most people prefer to read long or complicated texts offline so they’ll happily print lengthy documents that are comprehensive and provide necessary detail.

But if usage is difficult to predict, offer both a web version and a link to an easy-to-print page or printing alternative, such as a (low-res) downloadable PDF file. Above all, try to keep each webpage to one screen only! Web users may have highly evolved mouse fingers, but they hate scrolling with a passion.

6. Write objectively

Promotional language or ‘marketese’ places a burden on web users, who must use resources (like time and attention) to get past the exaggeration to the facts. When users read a paragraph that says: “Potchefstroom is filled with internationally recognised tourist attractions!” their first reaction is “No, it isn’t”. This slows them down and distracts them from the rest of the site.

Also, the web is not a shopping channel – and the last thing users want to see when they land on a website is an ad! So don't make your website look like one. Choose factual information over fluff or hype and treat your message as a good editorial piece.

In short, remember that most people are confronted with 3 500 commercial messages a day. Billboards, streetpole ads, text messages, e-mail, TV, radio, magazines, newspapers – and that’s before they get to work, where there’s more info waiting. So sneak under their radar with short, positive and objective text that’s easy to read.

www.tiffanymarkman.co.za