If it seems too good to be true…

When I opened the “important letter” from my car dealer, I was shocked by an offer that sounded way too good to be true. They claimed that they were in “desperate need” of my car’s model and year. I know that this model is extremely popular and holds its value, so I became curious.

“We will pay you 100% of your car’s MSRP. That’s right – 100%!” the letter shouted in boldface.

The copy explained that even if I bought the car used, the dealer would pay 100% of the original MSRP. Oh, yeah, there was a throw-away sentence about overall condition and mileage. But my car, five years old, had significantly lower mileage than even the 12,000 per year allowed on typical lease agreements. And I had religiously maintained it at that same dealership. It’s in perfect condition.

I love my car, so I wasn’t really interested in trading it in. But I was curious. The MSRP was about $25,000 and I knew I wouldn’t get that much, because after all, it was a car dealer. I called and asked for more details. I asked them specifically: “You mean to tell me that you will put $25,000 toward a new car?” and they said “that’s what the letter says. Come in and we’ll look your car over. If it’s in good shape there should be no problem.”

So I went in. After all, I have a low-mileage, perfectly running vehicle. Even if they gave me $20,000 I might – just might – consider a trade-in. But it still sounded too good to be true.

The first thing they did was to require that I test-drive a new model before they would give me the “100% of MSRP” figure. I wanted to walk out then, but decided that since I had come all that way, I might as well go along with it.

After the test drive the salesperson sat me down and offered me $9,000. That’s about $10,000 less than I could get if I sold my car on my own (I checked before I went to the dealer). She explained that the mileage deduction was the reason.

I sat and stared at her. “I write these letters for a living,” I said. “And this one is totally deceiving. The ONLY way you would pay 100% of MSRP is if I drove a new car off the lot, turned around, and came back in. I got up and stormed out.

That dealer just lost a 16-year customer.

But I gained a new insight into what so many of us writers do. All the way home I asked myself: “Have I misled people in a similar way?” What is the dividing line between emphasizing an offer or benefit and making people think they’re getting something they aren’t?

There are ways to write persuasively without outright lying. That same offer could have been restated in a way that still encouraged people to come in for a test drive, without leaving them disappointed and angry.

It was a serious wake-up call for me, and I hope, for other writers and clients.

Are you thinking outside the product? (Recipe included)

I’m very choosey about the businesses I “like” on Facebook. In some cases, they’re companies where I’m already a loyal customer. In other cases I simply like their attitude. They treat me like a friend, not just a potential customer.

One such company is a nearby antiques store. I’ve visited the bricks and mortar site once; didn’t buy anything. But I liked the people who own it enough to accept their friend request back when businesses could still have friends instead of fans.

Every couple of days they’ll post a featured item that has either just come in to the store or is appropriate for a holiday, or is just something they’d like to highlight. I like to read about their antiques, and since I’ll soon be looking for furniture, preferably antiques, I’ll be looking there first.

But today I actually shared their update — the first time I’ve ever done that with a business. See, they didn’t brag about a Victorian settee. They didn’t announce that a new hutch had arrived, or that a new collection of dinnerware was discovered.

This antique store posted a recipe from the Food Network. A rather good one for Israeli couscous with apples, cranberries and herbs.

A recipe from an antique store? Here’s what their update read: “Made this fabulous fall salad last night and used a colorful bowl purchased at [Name of business].

With just 17 words and a link, they accomplished something that all of their lovely product descriptions couldn’t do — they paired one of their products to a real reason to buy it.

The recipe looked so good that I had to share it with my 283 friends, many of whom are both foodies and antique lovers. I’m sure one or two will share it with their friends, and so on. Chances are that someone might decide that they’d like a pretty antique bowl to serve this salad in. And maybe they’ll “like” the store as well. Who knows? That one status update could result in thousands of dollars in sales down the road. And as an added bonus, the Food Network could also benefit from additional clicks, as visitors leap from the Israeli salad to other recipes on the site.

Just 17 words. But they demonstrate how critical it is to connect your audience with the things they want. All because someone thought outside the product.

If you’re social networking, you’re working.

“Do 54% of businesses have it wrong?”

That’s the question JD Rucker asks in his article, “Social Media Use at Work Yields Higher Productivity.”

According to a SocialCast study he references, 54% of employers do not permit their staff to visit social networking sites while on the job. Yet 65% of employees self-reported that their surfing increased their productivity.

I don’t know about those respondents, but social networking has increased my own productivity by at least 90%.

Why?

As is so often true, the simplest explanation is the best: Social networking keeps me at my computer. And when I’m at my computer, I’m working.

Back in the days when real life was offline, I would write for a while, then take a break and read a book. Take a walk. Feed the cats. Whatever. But it took me away from my primary work tool, so every break meant that I wasn’t being productive.

But these days I check Facebook and Twitter, dash off a quick forum response, then come right back to whatever I need to finish. The breaks are significantly shorter and I’m completely refreshed when I return to researching, concepting and writing. I have found that I procrastinate far less. I’m able to respond to emails almost instantly. I’m available when the phone rings. And my creativity has soared.

Because I’m there. And thanks to social networking, I’m often there nights and weekends, as well, allowing me to get even more work done than I could during normal business hours.

Social networking gives me critical insights into what people think about important topics. I’ve run thoughts by my friends on Facebook to see how they respond. If I get a lot of comments and likes, I know I’ve found a message that could resonate with a broader audience. I’ve learned how to make a more concise and compelling argument for a point of view — and that makes my copywriting more concise and compelling, as well.

Social networking is healthier than taking a smoke break. It’s more enlightening than discussing sports scores in the coffee room. It’s less fattening than a second or third donut. And it keeps us all connected, even when we’re far away from each other.

As Woody Allen said, “eighty percent of success is showing up.” If you’re on a social networking site, you’ve shown up. You’re at your desk, where you’re supposed to be.  And chances are, you’re being more productive than ever.

In other words, you’re working.

It’s 3:25pm. Do you know where your ad is running?

Freelance copywriters have been complaining for some time about rate erosion. There’s increased competition from writers who are willing to produce content for pennies. A friend recently told me she turned down an offer to write 80 web articles for $400, and her experience is typical.

I explored some of the most popular online job-posting sites and found similarly low rates for “experienced marketing copywriters.” Like my friend, I idly wondered why anyone would think they could get quality content at those rates. Then I put the whole idea of $5 articles out of my mind.

Until I stumbled upon one.

I was researching global warming, climate change and the lengthening earth day for a project and came upon this little gem:

Since 1972, these additives and the corresponding “translation arrow” was over 20.Which tends to work, though not soon, but it comes up that extra second will not be saved, and will have to redo the dial.

The brakes a lot.

What truly astonished me was not the abysmal content but the fact that there on the same page were ads for some of the nation’s best-known and most respected hotels, car companies, ISPs, restaurants, and movie rental companies.

Who is looking out for your brand?

Is anyone monitoring websites to see if your company is associated with such pithy phrases as “Why the Earth is gradually stop?”

Your customers are out there, looking for information, every minute of every day. If their search results are finding “Someone is a giant planet rotor motor” while looking at YOUR company logo, you could wind up in big trouble.

Just a heads up, folks.

Is your best copy and design talent 1,000 miles away?

I once wrote a 200-item online catalog for a toy retailer.
I’ve been creating award-winning marketing materials for the same ad agency for at least 10 years.
And I regularly write brochures, newsletters and websites for a major healthcare system.

I never met the catalog people.
Haven’t seen the ad agency client in years.
And I met the hospital people once.

When I worked in a corporate marketing department, my art director was 600 miles away, and my editorial supervisor was three states to the west. It was really no big deal.

Yet many ad agencies and corporations hesitate when it comes to hiring non-local freelance talent.

Why?

It isn’t that the companies aren’t technically savvy. They spend entire days online or on the phone, researching, emailing, collaborating, meeting. But when they need freelance copywriters and art directors, they tend to rely on whoever lives close by — and demand that they work on-site.

That’s understandable when background materials are available only in hard copy format — and the deadline is the next day.

But sometimes, the situation calls for creative ideas that have no boundaries.
Perhaps there’s a product or company that needs a new name. A new client pitch that requires a different style from the one your staff is used to. Or a difficult client has gone through every great idea and still “hasn’t seen it yet.”

In these cases, there’s no reason why geographic boundaries can’t be stretched, as well.

• A freelance designer or copywriter can offer thinking that isn’t tied to your office environment or routine. Their inspiration could be mountain peaks or an ocean instead of a suburban office campus or urban skyline. And that inspiration could result in a whole new perspective on your project.

• Freelancers may not know every nuance of your local audience; but they could spot a unique and appealing advantage that you and your client take for granted.

• They’re working in their own comfortable space, not crammed into someone else’s empty cubicle or a large, impersonal conference room.

In addition, applications such as Skype can make input meetings, creative sessions and presentations more personal, creating a virtual face-to-face interaction throughout the project.

Ad agencies and marketing departments often reach out to freelancers when their in-house creatives are overwhelmed, absent from the office, or burned out from trying to please an impossible client.

Perhaps it’s time to extend your reach.
Check out some freelancers on Linkedin — if their profiles are complete it’s easy to vet their background, portfolios, and recommendations. Then give them a call and see if they’re comfortable working remotely.

You might discover some of the best talent you’ve ever used is someone you’ve never “met”!

How important is “playing well with others”?

I have a theory that goes like this: If a copywriter, art director, or designer has survived in the business for a certain number of years, they must have talent. Some, of course, will be outstanding, others mediocre. But most perform at a level commensurate with their experience.

This is especially true for freelancers, who compete both on talent and the ability to work in varied environments.

So what makes one freelance copywriter or designer better than another?

Surprisingly, it isn’t always talent. As someone who has worked with many ad agencies and corporations over the years, the answer still shocks me: It’s the ability to play well with others.

I’ve heard the same thing from other freelance copywriters and art directors. After finishing a job for a new client, they are amazed to be told “we love working with you. You’re so much fun!” Or “you’re not a prima donna!”

As if being a prima donna is the rule instead of the exception.

Horror stores abound: The copywriter who pitched a fit when the creative director changed the opening sentence. The designer who refused to consider any other font. The writer who dictated a layout to the staff art director.

I have a theory for that, as well. In my humble experience few people freelance for the variety and lifestyle. Most do it because they’re between full-time jobs. And there may be reasons that they’re always between full-time jobs.

So if you’re not totally comfortable with all sorts of personality types and creative styles, you may want to re-evaluate your career choice — or learn to adapt.

As freelancers, it’s our job is to please our client.
And our client is the ad agency that hires us. We must never forget that.

Each agency has its own creative style and its own ways of dealing with their clients. As freelancers, we aren’t always privy to the backstories, relationships, and politics that influence decisions.

Therefore, we need to adapt to our client’s culture, not the other way around.

How can we avoid a reputation for being difficult — without compromising our creative standards?
The former is easier to accomplish than the latter. Successful freelancers quickly learn that compromise is a critical requirement.

Here are four things to keep in mind when pursuing a successful freelance career. They apply equally to ad agency and direct-for-client projects.

1. Study the company’s website. How do they talk about themselves? Are they straightforward or snarky? Playful or dead serious? The tone of the website will give you a clue about the way they approach their business.

2. Examine the agency’s portfolio. Is the design sophisticated and up-to-the-minute? Is it stuck in the 80s? Are the headlines provocative or bland? Unless the agency tells you that they want something different, expect to reproduce the style they’re used to.

3. Ask questions.
• Find out if the company wants copywriters to dictate design or collaborate closely with designers.
• Ask specifically about tone, style, and graphic standards before you begin work. Learn any boundaries up front in order to minimize disappointment and frustration later.
• Use questions to get your point across. For instance, instead of saying “this photo sucks,” gently ask why the particular image was chosen. Then you’ll know how far you can push your suggestions.

4. Remember that you’re an outsider.
As a freelancer, you are the one who must adapt to your client’s culture. Even so, every once in a while you may run into a situation where you’re just not the best match for each other. Accept it, do your best, and try to be positive. Something good could come out of it.

I’ve had “bad matches” refer me to their friends and colleagues. Why? Because even though our creative styles didn’t mesh I offered something they knew could be more important:

Playing well with others.

Is a focus on social media limiting your agency?

Your clients come to you seeking a comprehensive social media plan. Perhaps they need a website and interactive advertising, as well.

But what do you do if your client also needs more traditional media?
Do your web and social media specialists have the time or desire to create brochures, sales sheets, newsletters, and other print and broadcast advertising?

Can you afford to let that business go to someone else?

As Eric Hadley, general manager of Microsoft’s online services division, stated in a recent article:

We’re really starting to blend the ideas of our agencies and our media partners…If you have the media agencies in silos it doesn’t work.”

Why not tell your clients: “Sure, we can handle that!”

Keep in mind that writing and designing for print and broadcast requires a totally different skill set from that of social media. But because you’re social media specialists, you may not need nor want full-time traditional media copywriters and designers.

On the other hand, you’d probably like the additional business your client could send your way.

Consider a freelance team.

Many writers and designers work as teams. Together, they can step in to provide the additional marketing services your clients need — so they’ll be more likely to keep their work in your agency.

As social media becomes a more accepted marketing medium, chances are it will become “less siloed” as it is folded into full-service advertising agencies. So now is the time to expand your capabilities by keeping freelance writers and designers on standby.

One day, you may be glad you did!

Why you shouldn’t be content with content.

A designer and I were concepting some ads to drive visitors to our new client’s website. We logged on to see if we could find something to inspire us. While I rooted around on our client’s site, the designer called up a competitor’s web page.

“OMG!” she exclaimed, “check this out!”

The moment the competitor’s page loaded I wanted to cry with envy. Our client’s site was nothing but content. Well-written to be sure, but keyword-filled content was all it was.

The competitor’s site was lively. Engaging. Brand-friendly. Easy to navigate. And the copy was written to sell the service.

I’ll repeat that: The copy was written to sell the service.

And it was written to sell to human beings, not just to a search engine.

Website writing and design seem to have fallen into the hands of the coders and SEO experts instead of the marketing wizards. We seem to have forgotten that electronic media is just that: A medium. One that should be used to communicate a marketing message and get customers to take action.

The medium is the message.
Websites are, like print or broadcast, nothing more than a medium. But they could be the most important one you use. Why?

Because unlike other media, websites often represent the critical point where a sales decision is actually made.
So why are so many websites heavy on content and light on marketing?

I suspect it’s because the website and SEO firms — not marketing designers and copywriters — are writing the content.

Your techies are geniuses when it comes to coding and maximizing SEO.
But it’s your marketing geniuses who know how to translate your brand and strategy into a compelling and persuasive call to action. Working with your techies, they’ll also make sure that all of the necessary keywords and phrases are included, in the correct format.

Your website could be your most crucial marketing tool.
So don’t be content with content.
Get your marketing designers and writers to engage visitors so they’ll stick around. Demand a site that convinces visitors that your product or service is the only one they need.

With the right design and copy, your customers will tell their friends: “OMG, check this out!”

The Perils of Positioning: A Case Study

A small professional firm had been running a generic ad featuring a group shot of all of the firm’s senior members, along with some brief generic copy and a logo.

The client wanted to increase their business in a specific practice area where they saw great opportunity. They asked the design firm to create an ad that would position the firm as experts in this field.

The designers created three highly persuasive ads, with headlines and photos that were precisely on-target, engaging and persuasive. But the designers forgot to take one critical step: Getting the client to sign off on this new direction before creative work began.

The new ads were the first tangible evidence that the client was changing the marketing positioning. Suddenly, the client realized that he was committing his firm to a more narrowly-targeted market than he had been used to. He backed off in fear, requesting only a new group shot and a new logo. His new ad still looks exactly like everyone else’s.

Getting a literal sign off on the new position would have brought that reality home to him sooner. He would have been able to mull over the consequences of changing his positioning, discuss the rationale and supporting information with the design firm, share the idea with his colleagues, and make a decision before new creative was commissioned.

The unfortunate result is that the ads alone did not convince him of the wisdom of taking a bold leap — one that probably would generate significant new business. He wasn’t ready to leave his comfort zone, and showing him the creative execution of the new position before he was fully prepared was a mistake.

Even with sign-off, many clients are terrified of wading into unknown waters. Accurate positioning and branding forces marketers to take a stand, and that can produce too much anxiety for the person responsible for the change.

Perhaps we should all remember this, and make sure the client really does want advertising that stands out from the crowd. Maybe we should dig deeper during the initial input meeting in order to assess the client’s willingness to break out of the box and do advertising that will work.

Making a commitment to a precisely-targeted position could have brought unprecedented success to the business.

But it seems risky for too many marketers — and a risk too few are willing to take.

Nobody wants to read your #%$! ad.

How’s that for a blunt truth?

But it is true. And it needs to be kept in mind every time we create marketing materials.

We’re not best-selling authors launching our latest hot novel. We’re not famous Hollywood names producing another hit film or TV series. We’re creating ads and other materials in order to sell something that people may or may not want. And even if they do want the product or service, they may not want ours.

Clients, copywriters and designers have to be wily enough to unlock resistance, fire up curiosity, and get people to learn more. Here are six ways to make your marketing materials more appealing and irresistible:

1. Talk to your audience, not to yourself.
Body language experts tell us that mirroring another person’s movements can dramatically increase rapport. The more you sit and move like the person you’re talking with, the more likely they’ll pay attention to what you’re saying.

So do the same with your marketing materials. Learn the linguistic and visual style of your target audience. I once had a client who hated the term “24/7” — even though people used it all the time. But because she didn’t like that term, she banned it from all marketing communications. It made it more difficult to identify with our audience.

2. Make your ads interactive.
You’ve seen those direct mail pieces for health-related publications: “Prevent burglaries with something that’s already in your pantry (see page 8).” Admit it — you check it out, don’t you?
Tantalize your audience by asking intriguing questions, then giving hints for the answers — which can be found only by following your call to action.

3. Make them want more.
Be brief. Unless you’re writing a direct sales piece or catalogue, you want the audience to contact you for more information. The ad’s job is not to close the sale; that’s why you have salespeople.

4. Have fun with your copy and design!
Surprise your audience with an inside reference or delight them with surprising contrasts between words and images. I once wrote an invitation for a sales trip to a game reserve in South Africa. Along with photos of zebras was the headline “Look at all the happy creatures dancing on the lawn.” The audience would recognize the line from a Crosby, Stills, Nash & Young song, making them immediately part of the “in” group.

5. Don’t be afraid of negatives.
We’ve all been told to avoid words like “no,” “never,” and “not” in headlines and copy. But sometimes they can be the most powerful way to attract readership and get audiences to pay attention to your story. It’s all about context. Got you to read this article with a negative in the headline, didn’t I?

6. Scare tactics can be used — with caution.
As with negatives, there’s no reason to arbitrarily write off scare tactics. Sometimes they can be given a twist to make them more appealing. For example, a client needed to convince young parents to immunize their babies. The client actually wanted to use scare tactics, mentioning the often deadly diseases that could be prevented. We toned it down, pairing a crying baby’s face with the headline “Someday he’ll thank you for this.”

And someday your clients will thank you, too!

8 ways to get the most from your freelance writers and designers.

Last in a series

The weak economy has produced a glut of freelance writers and designers, so in a sense it has become a buyers’ market for those who need creative help.

But not all freelancers are created equal. The best have remained busy enough to be choosy about the clients they’d prefer to work with.

How can you keep the most talented people loyal to you? Here are some practical ideas.

1. Find the right people for your needs.
With so much talent available, it may be worth expanding your own pool of on-call writers and designers. Start by interviewing freelancers who contact you to see what they can offer. You’ll soon have a list of individuals or teams that you feel comfortable with — and whom you can call on a moment’s notice.

2. Give precise direction.
Freelancers can become very familiar with your culture, but they are not immersed in it. When you provide direction, write up a detailed creative brief (something you should be doing, anyway). Then, tell them enough of the “back story” to help them avoid stylistic or political pitfalls.

3. Give new freelancers time to adjust.
When you receive that first draft, provide comments as soon as possible. Unless it’s completely off-strategy, awful, and badly executed, allow the freelancer to make the revisions. Sometimes it takes more than one project in order to “find your rhythm” with a new writer or designer. Allowing them to make the changes lets them learn faster.

4. Provide ongoing feedback.
Once or twice each year, review each freelancer’s performance and offer both praise and constructive criticism. There’s nothing more puzzling for a freelancer than to be unceremoniously dumped by a client after many years of working well together.

5. Keep them busy.
If a freelance copywriter or designer has done a great job, keep giving them additional work. Even an occasional small assignment strengthens your relationship, and keeps their knowledge of your business current.

6. Pay them what they’re worth.
The most satisfactory relationship is one that’s mutually beneficial. You need excellent work; the freelancer needs to pay the mortgage and health benefits. However, this doesn’t always mean that you need to pay the highest rates. Steady, predictable work is often appreciated more than huge invoices.

7. Pay them on time.
Freelancers’ receivables, like their workload, are often erratic. They depend upon prompt payment, and tend to favor those clients who are always on time. If they’ve met your deadlines, it’s a good idea to return the favor.

8. Refer them to colleagues.
This could be the most important way to solidify your relationship with your freelancers. Remember that one day you may also need a referral or networking opportunity, and that freelancers often have wide and deep networks.

If you already use freelancers, remember that there are still times when you could use a fresh voice, a new perspective, or just someone to smooth out the peaks and valleys of your in-house workflow. A different freelancer could refresh a campaign, help you land a new client, or allow a small ad agency to offer a wider range of services.

If you’ve never hired a freelance writer or designer, give it a try. You could discover the benefits of full-time expertise — without the full-time costs!

10 ways to save on the cost of freelancers.

Fourth in a series

Everyone is trying to save money these days, and marketing and advertising professionals are no different. Some agencies and marketing departments turn to freelancers, who pay for their own office space, benefits, and business expenses.

The most seasoned freelance writers are charging — and getting — anywhere from $50 – $200 per hour, depending upon location. Freelance designers tend to cost a bit more than copywriters, since they often spend additional hours searching for images, adjusting color, and preparing projects for production or uploading.

And while these rates may seem high, remember that you’re getting the quality of a creative you’d like to hire full-time — at a fraction of the cost. The best freelancers can become a solid partner who can add value to your agency or company year after year.

Whether you’re a large ad agency or a small business owner, you can enjoy the benefits of hiring the most creative writers and designers available, as long as you’re willing to be flexible.

How you can save on freelance costs.

Be open to different methods of calculating the total cost of a project. Here are some ideas that you can present to freelance writers and designers that will benefit everyone:

1. Straight hourly rate: This is best when you need help with brainstorming, developing product names, or if you need your freelancers to work on-site.
2. Project fee: Freelancers and clients often prefer this method because it’s more predictable. An hourly rate can kick in should the concept be changed after it has been approved.
3. Retainer: A retainer is a good idea if you will be giving the writer or designer steady assignments for six months or longer. You agree to a flat monthly fee using a discounted hourly rate. You can decide whether to carry over unused hours or pay additional hours at a higher rate.
4. Expedite payments: This is an excellent way to get high-quality creative on a tight budget. Typical billing is 30 days, so if you pay on delivery or within a week you may be able to negotiate a lower rate.
5. Extend the deadline: By giving your freelancers more time to complete the assignment, they won’t have to turn down higher-paying clients with tighter deadlines.
6. Minimize meetings: They cost money. By working remotely, you may be able to eliminate on-site meetings completely or cut them down to just one or two.
7. Consider a writing and design “team.” Many writers have designers they work closely with, and vice-versa. They’re ready to plunge in to the most complex projects without spending time becoming comfortable with each other.
8. Be upfront about delayed payments. If you know that you will not be able to pay your freelancers for 60 or 90 days, admit it before the project begins. A bonus or higher rate would be nice compensation — but make sure you do pay when you say you will.
9. Offer a payment plan. If your budget is tight, you can also arrange a regular payment plan, spread over several weeks or months.
10. Pile on the work. If you can promise — and deliver — steady work for many months or years, you may be able to negotiate lower rates.

Next: How to make your relationship with your freelancers more productive and rewarding. Subscribe if you want to be notified when each new article appears.

Hiring freelancers? You get what you pay for.

Third in a series

The explosion of publishing software and online recruiting sites has significantly affected rates for freelance writers and art directors/designers. A typical listing on Elance offers less than $500 to write ten 500-700-word articles. Since each article requires at least three hours to outline, research, write, and revise, the effective rate is $16 per hour — before taxes!

Perhaps some clients don’t know what professional copywriting and design are worth. Maybe they don’t understand how critical it is that copy and design work together to communicate your brand. Or maybe they think they’re getting a bargain by “crowdsourcing.”

But are they?

The best advertising agencies charge upwards of $100 per hour for the most creative and effective writing and design services. In areas such as New York City, rates are as high as $800 per hour for the most experienced creative people.

So how can anyone think they’ll get the same quality for $16 per hour or less?

They can’t.

There’s a world of difference between content and marketing copy.
Anyone can write a website crammed with keywords, facts and figures. But if the site fails to offer a compelling message it won’t deliver the results you want. And if you’re like most people, you want results!

Content informs…
Content shares new information or insights, and helps your company or organization gain credibility over time. It can be a valuable supplement to your overall marketing communications plan and should be one of your strategies.

…marketing copy motivates
If you expect to successfully brand and position your company, product or service, you need much more than content alone. Copy and design should work with your marketing message to engage visitors and encourage them to take action.

Marketing experts can give you both
Freelance marketing copywriters and designers bring extensive knowledge of different industries, audiences, and social influences. They’re familiar with print, broadcast, electronic and other media. They understand demographics, social influences, and what it takes to persuade. A competent freelance marketing writer can deliver both engaging content and persuasive marketing copy.

As a marketer, it’s your job to interest, engage, and persuade people to pay attention to your message as well as act on it. That takes creatives who know what they’re doing.

And that’s worth far, far more than $16 per hour.

To find out how much you should offer your freelance copywriters and art directors, check out the next article in this series.

How do you find the best freelance talent?

Second in a series

“We’re going to have to get some freelancers in here.”

In one way, it’s a happy problem when you need additional writers and designers. It means that you have too much work! But in another way, it’s a reminder that you need a list of pre-screened professionals who can take over a project at a moment’s notice.

You may already work with one or two favorites. But it’s a good idea to maintain a list of potential freelancers in case your regulars are not available.

Do you need specialists or generalists?

The instinct is to go with the specialist. After all, an experienced financial writer would understand your needs better than someone who has done only occasional financial creative. Right?

Well, as with so much in life, it isn’t always so clear-cut.

A specialist, of course, is familiar with your industry, the language your audience speaks, and any regulatory requirements. This is especially valuable if you’re dealing with tight deadlines and highly complex products and services that demand a more straightforward approach.

But there are benefits with hiring generalists, too. Chances are, they’ve worked for a variety of industries, including yours. That variety can result in fresh thinking, especially if you’re seeking high-concept, breakthrough ideas. If they’re highly experienced, they can get up to speed quickly with any regulatory requirements and style restrictions.

Do you really need someone to work on-site?

If at all possible, you may want to resist this requirement.

Some of the best, brightest, and most successful freelance creatives prefer not to work in-house. If they did, they’d seek a full-time position. By restricting them to on-site work, you could be missing out on some terrific talent.

Besides, remote teamwork is becoming routine. Many corporations and agencies have writers, designers, and marketing managers in several locations around the world. And services such as Skype and online meeting sites make virtual in-person collaboration easy — at a fraction of the cost.

How important is an ad agency background?

People who have worked for advertising agencies may be the most talented and adaptable freelancers. Here’s why:
• Creativity is of paramount importance. Agencies tend to place great importance on a writer or designer’s “book.” By hiring an ex-agency freelancer, you could enjoy award-winning quality work whenever you need it.
• Agency writers and designers provide a breadth of experience. In addition to familiarity with many industries, they’re also skilled in every format from print and broadcast to campaigns, collateral, newsletters, websites and more.
• They are thoroughly familiar with marketing plans, brand standards, and production and media constraints.
• They consider deadlines sacrosanct. Agency people have developed a healthy fear of blowing a deadline, no matter how tight. They may whine, but they’ll come through for you.

Where can you find the best freelancers?

Personal referrals are always the best way to find the best freelancers. But Linkedin can also be a solid, dependable resource if you know what to look for:
• Concentrate on those with a background at ad agencies or design firms. Don’t worry about longevity — creatives tend to move around frequently.
• Pay attention to the profile descriptions. Is the copy lively and engaging, or dull and mediocre?
• Are the recommendations strong and enthusiastic?
• If there’s a website, look beyond clever Flash intros and funny headlines (unless they’re on the samples). Does the freelancer make a compelling case for being hired? If so, they’re likely to do the same for your products and services.

Now that you know how to find the best freelancers, how do you keep them happy and encourage them to make your projects their priority? That’s for the next article!

Get the most from freelance creatives: Ideas for advertising agencies and corporations.

First in a series

The web is filled with advice for independent marketing copywriters and designers. There’s an abundance of websites where one can learn how to improve skills, find work, get paid on time, and more. But there isn’t quite as much information for those who are thinking about hiring freelance creative people.

This series of articles can help you get the most from your freelance or temporary help.

How can freelancers add value for your agency or marketing department?
Naturally, many companies think of freelancers only when their in-house staff is overwhelmed with work, or whenever a key writer or designer is not available.

But freelance writers and designers can be profitable assets in other circumstances, as well.

Did your advertising agency land a new client?
During those first few months you could be deluged with hundreds of projects, both large and small. As a result, older clients could be temporarily neglected. Freelancers can keep them happy, while helping you keep up with the new client’s needs, such as updating collateral and websites. This can free your star talent to focus on more critical assignments such as branding and positioning. (It can also reduce overtime and resulting burnout, too!)

Is your “client lifecycle” nearing the end?
Once the honeymoon period is over, freelancers can infuse new thinking and enthusiasm to staff writers and designers — helping to keep the relationship fresh and strong.

Does your smaller agency want to appear larger?
The right freelancers can help you offer your clients the same award-winning creative enjoyed by larger firms for as long as you need their help — without the corresponding high salaries and benefits.

What about your in-house marketing department?
Corporate staffers tend to become bored after many years of writing for the same “client.” By inviting freelancers to brainstorming sessions, or hiring them to work on entire projects, you could breathe fresh life into the entire department.

Freelance copywriters and art directors can be as good — if not better — than your own staffers.
The secret is to seek only those freelancers who are not “between jobs,” but committed to providing you with superb work, year after year.

So how do you find the right freelancers for your needs?
The next articles in this series will give you some valuable ideas. Subscribe to make sure you’re notified when they appear!