I’m blocked.

No, not that way. Plenty of fiber here. But I sit here, hunched over the keyboard with not a valid thing to say.

And it’s sad, really. I stare at my keyboard that I meticulously cleaned over a period of two days with a can of compressed air, a damp washcloth and a sense of great discomfort every time I dug something new out of the vaguely yellowing keyboard. For those of you who have never actually done this, it’s much like attending your senior prom…all proud, humbling and grotesque in one fell swoop. All I could think most of the time was “I understand the lint…I get the bits of Doritos and dust…but my God…did I really eat chili at this computer? And how often?”

But then suddenly, swirls of neurons sputter and fire, sputter and fire, like bits of paper caught in a blaze, and I realize that inspiration, the act of being inspired, is exactly that…a moment…a thought, a switch…the drawing in of a creative breath.

And now, I’m not so worried about being at a loss for words. Or design ideas, or any number of things. Creativity, like happiness, or diamonds, or a really good BLT, is precious because it’s not constant. Constancy is the death of inspiration.

I have two points here. One is obvious: Clean your keyboard more often than once every five years. The other is more vague, but still excellent advice: When you’re at a loss for that ‘eureka’ moment, wait for the wheel to turn your way. Think of it like chasing a ball, only to kick it away as your reach down, hands grasping. It may feel like you’re making forward progress, but the truth is you’re eventually gonna run smack into a real wall.

So, next time you can’t figure out the next logo, or the next business decision, or whether that’s chili or pad thai sauce…take a moment – grab a can of compressed air, and clear your creative space. Trust me. It’ll come back to you.

How about you? What do you do when the creative balls doesn’t bounce back right away?

Thomas (Tom) Stephan | Director of Something Clever
BoDo Author | Dyer Straits | Working Pro-bono

“The conventional interpretation is that the amateur pursues his calling out of love, while the pro does it for money. … In my view, the amateur does not love the game enough. If he did, he would not pursue it as a sideline, distinct from his “real” vocation. The professional loves it so much he dedicates his life to it.”–Steven Pressfield, screenwriter

Howard J. Blumenthal’s book, The Creative Professional: A Survival Guide for the Business World, is a must-read for anyone in any creative professional. Blumenthal starts off with the basics: what defines a “creative” professional, the rules of behavior in the marketplace, and the valuable assets of a creative professional. He also addresses the myths surrounding creatives, such as “creatives are disorganized”, “creatives are crazy”, and “you can’t learn creativity from a book”. He discusses personality traits and how they translate into the workplace, with specific references to the Myers-Briggs personality test, and how to use those traits to your advantage.

Blumenthal then goes on to talk about work styles, and includes a number of helpful exercises to help you determine how you work best. He talks about being a leader vs. being a specialist, and the difference between working for an employer and for clients. Blumenthal details the hiring process, including why you might not get hired full-time, and the positives and negatives of working for different size and types of companies.

The inherent distrust of creatives is discussed at length: business people don’t trust creatives; “creatives only care about creative work”; “creatives don’t follow business logic”. Blumenthal includes an excellent chart on traditional business thought vs. the creatives’ view.

From there, Blumenthal talks about managing your resources: time management, the creative process, getting past obstacles, how creatives think, and legal issues. He also discusses a creative’s career path: alternate paths, how to make changes when things aren’t going well, why the traditional job market doesn’t work for creatives, how to grow your career, determining what you really want to accomplish, and knowing when to move on. At the end, Blumenthal includes The Creative Bookshelf, a list of excellent resources.

The book is packed full of information and exercises, and needs at least a second read to begin to process all the fantastic information in it. Any creative, newbie to veteran, should have a copy of this book, and refer to it often.

until the next
Erin Reviews

Erin Harris | Designer
BoDo Author | Erin Reviews

Forgetting that even though you’re a Graphic Designer, you’re really in the business of marketing … for both your practice and your clients.

To wrap up this series, I wanted to leave you with this thought: Even though you’re a designer, your real business is marketing. You need to market and promote your practice just as well as you do it for your clients … maybe even better.

Marketing softens up prospects for sales. Sales brings new business. New business is the life blood of a Graphic Design business. Consider that the typical client/designer relationship lasts roughly three years. The sales curve can take 6 to 8 months and often longer … a lot longer. If you’re not always marketing, you’re already behind.

Marketing isn’t just a mailer here and there. It’s not just the occasional news release or networking event. It’s all those, but done on a systematic, consistent basis and on a regular schedule.

Beyond this, marketing is everything you do. Every touch point forms your image … your brand … in the minds of your audience. It’s how your marketing materials look and what they say. It’s how you answer the phone. It’s your office interior design and even how you dress. Every point of contact with your audience builds on the next.

Take the time needed to craft your marketing to send a clear, consistent message that’s flawlessly implemented. That’s what will help insure the phone’s always ringing and you’ll get to the place where you’re able to work with the clients you want and do the work you love, while getting paid what you’re worth.

Until the next
Marketing Minute
all the best,
nt

When I asked designers how they should be chosen for a project, the majority chimed in with word of mouth. Other suggestions were: research, RFPs, references, successful projects, portfolios, networking, style and attitude.

To find out if writers were chosen any differently than designers, I asked the same question, “How should a company or individual in your profession be chosen?”

Cheryl

portfolio on website

Cheryl Stephens | Mentor/Muse
plainlanguage.com | Building Rapport | Building Rapport : CafePress.com

Liz

What to look for in a writer is a paradox, but recognizable. Given that all candidates can write, the most important qualities are curiosity, a positive “can do” attitude, and patient, listening skills. Look for curiosity about who you serve, who your market is. Look for patience and a strong desire to understand the idiosyncrasies of your work. Look for someone who doesn’t give up when the work doesn’t go well — writing is hard enough, it’s easy to get angry with the words.

What you want from a writer is someone who gets to know you, who wants to care about what you care about. To put it in a more thinking way, you want a writer who sits with you and looks at your market. Too often a writer will look AT YOU as the market, writing only for YOUR approval. That puts you in a position to do all of the thinking. If the writer is looking at the market with you, you can bounce ideas off each other and together you’ll build a more holistic and cohesive piece.

ME (Liz) Strauss | Writer | Career coach | Strategic planner
Successful Blog | Letting Liz Be | Liz Strauss.com | The Blog Herald | Performancing.com | Write With ME

Louise

I don’t think there are any set rules for this. I’ve been offered work through word of mouth recommendation quite often, but I’ve also been approached because someone found me in the phone book. Designers seeking a copywriter should ideally look for skill and experience first. Qualifications can be useful but many skilled copywriters don’t have them. Asking for a range of work samples or looking at a portfolio is often the best clue as to whether the copywriter is competent. Price is also important, but paying a lot does not necessarily guarantee you are hiring the best. Designers should also seek a copywriter with whom they have a rapport, as they will be working closely together.

Louise Bolotin | Writer, consultant
PlainText Editorial Consultancy

Nancy

Experience, talent, word of mouth-all these factors are important. The least important factor in my opinion is price. I’ve been in this business for twenty years and am not interested in working with designers or clients who don’t appreciate the value of my time.

Nancy Friedman | Chief Wordworker
Wordworking | Away With Words

Roy

No writer will be a perfect collaborator. The fleas come with the dog. But I want to work with writers who are curious, passionate, and practical. I want writers who can meet and beat deadlines, who are willing to talk about their process, who enjoy feedback.

Roy Peter Clark | America’s writing coach
Poynter Online - Writing Tools | Book: Writing Tools: 50 Essential Strategies for Every Writer

Tom

Choose a writer for your project based on your goals. In simple terms, don’t hire a technical writer to deliver killer direct response copy. Or a killer direct response guy when you want a fluffy branding piece. Be smart.

Also, each writer has a specific “voice.” Make sure that voice (and their temperament) is right for the job.

Tom Chandler | copywriting : online/blogging : marketing plans
Chandler Writes. You Profit. | The Copywriter Underground

tom

On the quality of their portfolio.

tom mullen | writer & proprietor
EXIT3A.com | ANONYMOUS, JR

I’ve read a about writers selling on voice, similar to designers selling their talents (at times) on style. Makes sense when you think about it. Not everyone is suitable to every job that comes along.

Following the format for the DWW series, next up will be How Writers Work.

until the next
Designers WW,
cat

Farewell to Freelancing, from Authentic Boredom

Welcome to Business Briefs. This is where I’ll scour the web looking for discussions on running a design company, freelancing, or similar. There’s a lot of advice scattered around on blogs and websites. I intend on gathering all into one, tidy spot on BoDo - Business Briefs. Enjoy.

Cameron Moll gave freelancing 18 months to see if it worked for him.

In his post Farewell to freelancing, he gives the six lessons he learned.

1. You’re a business. Act like one.
2. Don’t wait for great ideas to auto-execute.
3. Secure office space within 6-12 months.
4. You’re not a bank. Remind clients of that.
5. Smooth out revenue flow with residual income.
6. There’s more to life than business.

I agree with all points made, except for the bit about office space. One of the reasons I started freelancing was to be able to work without wasting time on the foof, the travel, the hassle of lunches (and at times dinners) out, etc. The two times I did venture into an office situation were a disaster. One was a shared office, the other a full blown, dedicated office with staff. If you are trying to decide which way to go, before you make the decision, understand that there are several points to take into consideration. Finances, work habits, personalities and preferred lifestyle play a big part in making the final choice.

From Cameron on the same subject, check out Full-time freelancing: 10 things learned in 180 days and Full-time freelancing: 10 more things in 360 days.

If you are blogging about the business of design, go ahead and contact me.

Until the next
Business Briefs,
cat

Not leveraging the power of your business and personal network

Akin to having a referral generation system for clients and associates, look to your broader network for referrals. It’s said that every person knows roughly 200 other people. Each of those 200 know 200 more. Do the math. That’s a whole lot of people. Tie that together with the concept of six degrees of separation and, with a bit of work, you may be able to get an introduction to Mr. Big at Conglom-O Corp. who you’ve been wanting to work with for a long time.

Be sure to clearly communicate to your friends, neighbors and even … ugh … family what it is you do, the value you bring to the table and that if they happen to know of someone who would benefit from your services, you’d appreciate a referral. For your personal network, when you get a referral, maybe send them a restaurant gift certificate, a gift card or something similar as a thank you. The same goes for your business associates and clients. A nice, appropriate thank you makes an impression and may help to get the referral machine primed.

Until the next
Marketing Minute
all the best,
nt

In the previous post of the Designers Working With Writers series, our guest writers shared their feelings about working with designers. Two or more creatives clashing on a project can be a recipe for disaster. However, if we understand how each works within their own expertise, then the door is open to finding a solution.

With this in mind, the next question we asked our Writers was:

How do you work?

Liz

I guess you would say that I’m an undisciplined, disciplined writer. This much I know for sure. I’m not a prototype, an archetype, or even regular, but then I’m not sure that I know a writer who is.

I work in a variety of ways to suit the kind of writing that I’m doing and my background has led me to write for every age from preschool through professors of engineering and in every imaginable genre from fiction, poetry, copywriting, how-to, technical, inspirational, and self-help, which could be the result of having written all of the rest.

When I write the “softer” genres, I often hope to work at night or early in the morning. I Like quiet with time for reflecting to do some serious introspection. I think slowly and often listen to music before I begin to let my thoughts come together. When I have a point of view and message, I write as if I’m on a journey from beginning to end. I might edit a bit as I go, but mostly I get the message out. Then I let the piece sit for a short while. When I return to it, I change all of the clumsy words and take out all of the words that I realize don’t need to be there. It’s really quite fun to edit out the unnecessary words and details. And I’m quite lethal.

When I write the “more structured” genres — things that require research, detail, and accuracy — I’m a top down writer. I plan my work in pieces or sections, the way a designer might storyboard a multi-piece design. I define my ending point — that closing conclusion that I want to be the end that satisfies the reader. Then I determine what would be the corresponding beginning to echo or reflect that ending. Usually I’m doing this first, because the middle is the hardest part for me.

If I have a sense of the beginning and the ending, then I can map out what goes in between. First I do that with the broadest brush strokes and quickly. Then I go back to fill in the details. Each time I return to read it, I challenge the details a little harder to make sure that I’ve not left something out.

For that kind of writing I’m highly focused. I often walk around to find the words and to read what I wrote. I rehearse sentences in my head before I write them, because I find putting the words on paper in such detail visually distracts me from what the words mean. So I get the meaning and the words together before I commit them to the text on screen or paper.

Two things are true of every writer, we have to use both ego and self-doubt to write anything worth writing. And no one can help us write. In those ways, writers are like designers.

ME (Liz) Strauss | Writer | Career coach | Strategic planner
Successful Blog | Letting Liz Be | Liz Strauss.com | The Blog Herald | Performancing.com | Write With ME

Roy

For me, writing is a process, a set of rational steps: the search for an idea; the collection of important stuff; working toward a focus; finding a structure; creating an early draft; revising. I want to involve collaborators as early in the process as possible. I want them to be able to plan and rehearse.

Roy Peter Clark | America’s writing coach
Poynter Online - Writing Tools | Book: Writing Tools: 50 Essential Strategies for Every Writer

Tom

Some days more slowly than others.

Tom Chandler | copywriting : online/blogging : marketing plans
Chandler Writes. You Profit. | The Copywriter Underground

tom

Depends on the project. Mostly I work remote, via iSight, to concept/present. I’ll collaborate w/designers, art directors, or I’ll work alone. It just depends on the scope of the assignment.

tom mullen | writer & proprietor
EXIT3A.com | ANONYMOUS, JR

Following the set format for the DWW series, next up will be How to Choose a Writer.

until the next
Designers WW,
jay, taking over from cat for this post

For new business owners, it’s invaluable to know what could, and often does go wrong. Equally valuable is being told industry specific treats.

In the first section of the Designers Working With Series, designers shared their problems with clients.

So for the (hopefully) nip-in-the-bud realities when working with writers, I asked:

When working with designers, what do you see as the top problem areas?

Cheryl

They don’t try to understand my target reader.
They submit alternate proposals that are too similar.

Cheryl Stephens | Mentor/Muse
plainlanguage.com | Building Rapport | Building Rapport : CafePress.com

Gerald

Number one: Ego. A designer needs to have a rather large ego, but needs to keep it under control in service of her client. Many do not do this well. My book, “Becoming a Technical Leader,” deals with this problem, as does my book (with my wife) “General Principles of System Design“.

Number two: Maybe related to number one: Inability to listen and really hear. My book on feedback (with Charlie and Edie Seashore) “What Did You Say?: The Art of Giving and Receiving Feedback” deals with this problem.

Number three: Inability to surface assumptions (his or the client’s) and to do the work to clarify them. My two books with Don Gause, “Are Your Lights On?: How to Know What the Problem Really Is” and “Exploring Requirements: Quality before Design,” deal with this problem.

And, of course, many designers are simply poor communicators, either in writing or face-to-face, and my writing book and my consulting books deal with this problem.

Gerald M. Weinberg | Writer, consultant
Weinberg on Writing | The Secrets of Consulting | gerald weinberg books and leadership courses

Judy

They just want to get things DONE. Fast. Unless they have had to write a website, they probably don’t understand the various facets that go into writing an effective website. Like studying writing, demographic, search engines, visitor trends every day, most days.

There are more things, but at least this gives you an idea. And the following is part of what I send to people who want a new website or a makeover:

1. Why do you want a website?
2. How much business do you expect it to bring in percentage over what you’re bringing in now?
3. What are your target audience demographics? In other words, who do you want to reach? Be as specific as possible (age range, profession, income, interests, etc.).
4. How does your business benefit your target audience?
5. What problems do your prospects have that your business solves?
6. What can your business offer your visitors (what’s in it for them?)
7. List features of your services.
8. Do you perceive your website as a static but attractive online brochure, or do you perceive it as interactive and offering various elements that will make people want to return?
9. Do you have a budget set up for website startup?
10. Describe your business.
11. Do you have a business slogan or “tag line”?
12. What is the approximate number of pages you have or will have?
13. Do you have any content ready that can be used as a basis for your site? Examples: Welcome message, mission/vision statement for your business, company overview, business philosophy, and why visitors should do business with you rather than a competitor.
14. How do people learn about your business now?
15. How much time will you be able to spend online, responding to inquiries, etc.? Once a day? Several times a day?
16. Do you have a company logo?
17. How can you encourage repeat visitors and referrals?
18. Who is you online competition?
19. Describe your ideal client(s).

Judy Vorfeld | Webmaster Services; Editing and Writing Services
www.EditingAndWritingServices.com | Judy’s Blog

Liz

Listening, Personal involvement, Trust, Commitment to the Work, Ego. In a mix on both sides, make for a messy relationship in any creative endeavor.

All of which are fixed by a high trust relationship that is built on communication.

To make the best product, both parties need creative input and deep personal investment, they need to trust each’s commitment to the work, setting aside ego by realizing that what’s on the page or the screen is the work not them. It is at best difficult at moments to do that.

In a great relationship, two ground rules are set –implicitly or explicitly.
They are that:

1. It’s about the work and each person has a right and a duty to say what he or she thinks about the whether the work is going in the right direction without feeling that it will hurt the relationship or that he or she will be thought of as difficult.
2. Both people agree that when someone finds something about the work that isn’t working, if they find a way to solve it that meets the needs of both parties, the work always becomes better than if one person had won out over the other. In other words, working through problems for solutions that meet everyone’s needs gives me the best of two minds on the problem. I want an equal partner who listens and takes on my problems as part of his or her challenge. A client relationship doesn’t work for me. A prima donna makes me very unhappy. A designer who sees me as someone who comes from a place of personal taste make me what to sit him or her down to read my resume. :)

Designers need to know that they are as easily swayed by their own personal tastes and quirks as editors and publishers. They also need to know that I speak for my market, not for my personal taste. I ask for different things depending on who my readers will be.

I need feedback and partnership to get to the vision. I don’t like to make work for anyone.

ME (Liz) Strauss | Writer | Career coach | Strategic planner
Successful Blog | Letting Liz Be | Liz Strauss.com | The Blog Herald | Performancing.com | Write With ME

Louise

The biggest problem is when designers focus only on the design. The copy is equally important - design and words need to be in harmony with each other. If the designer forgets this, it makes working together very difficult and also means that the project may not be 100% successful. Sometimes designers need to be willing to accept advice or criticism from a copywriter and be prepared to modify the design. Another problem is that designers can occasionally become obsessed with cramming in too much design, especially fancy stuff like Flash, and be unwilling to recognise that less is often more.

The main problems are not passing on a proper brief from the client (do web pages need to be search-engine optimised, for example? If yes, I need to use key words), and not allowing me any time to proofread before publication (because the copy I send will be perfect when it leaves me and errors always creep in at the design end when being laid out) - this last point is very important as the projects I work on with designers rarely involve bringing in an additional proofreader.

I’m not sure how helpful these responses are going to be as I very rarely work FOR the designer as opposed to WITH the designer. Usually, I’m hired separately by the client and invoice separately, but obviously I need to have close and regular contact with the designer as I can’t work in a vacuum. I can’t say I’ve encountered any major problems to date - so far, I’ve been lucky enough to work with designers who understand that the copy is as important as the design. Usually, the problems lie with the client being uncontactable at a crucial point or unclear about what they want.

Louise Bolotin | Writer, consultant
PlainText Editorial Consultancy

Lynn

I have had the good fortune to work with wonderful designers. For me, the key is recognizing when there is a fit and when there isn’t. If people can tell at the beginning that their business styles, aesthetics, or budgets don’t match, they should not work together and should not feel guilty about it.

It would be a problem if designers did not return phone calls or reply to email, did not keep their commitments, or did charge for services that had not been agreed upon in advance. I am glad to say that has not been my experience.

Here is the answer to the question you did not ask:

Having a good design is the difference between having a lackluster presentation and earning instant admiration. Before any words make an impression, the design does. I am grateful every day that I work with excellent, happy designers. I count them among my most valuable partners.

Lynn Gaertner-Johnston | Founder, Business Writing Specialist
Syntax Training: Tools for Better Business Writing | Business Writing Blog

Matthew

Briefing aside, the biggest issue with web and print designers is that they view copy as a commodity. They don’t seem to understand the writer’s process, the need for interviews and research, time to write well, edit and rework if necessary. They just see a bunch of ‘lorem ipsum’ and say to themselves “writer to insert copy here.” A bit more mutual understanding would help everyone. Not all designers are like this of course!

Matthew Stibbe | Writer-in-chief
Articulate Marketing | Bad Language

Nancy

Not being regarded as a full partner on the project. (I must say this happens rarely; I’m fortunate to work with some very experienced, knowledgeable, and sensitive designers.)

Nancy Friedman | Chief Wordworker
Wordworking | Away With Words

Roberta

Underestimating the time/cost needed to complete a project

• Forgetting that the work, while still very much a creative enterprise, is not about the artist — it’s all about meeting the objective of the promotion. In short, it’s business.
• Sloppy final art — fonts and images missing, items not labeled, PMS colors not identified, no folding dummy, etc.
• Too casual approach to returning calls and emails

Roberta Rosenberg | Pres/CEO
MGP DIRECT, INC. | The Copywriting Maven

Roy

Writers can be assholes. They act as if the designer is there to service the writer. The writer can be a narcissist and forget that the designer needs to be brought into the conversation. The designer needs time, so it’s imperative that the writer meet deadlines and provide as much advanced information as possible.

Roy Peter Clark | America’s writing coach
Poynter Online - Writing Tools | Book: Writing Tools: 50 Essential Strategies for Every Writer

Tom

If I have one rant in me, it’s about designers who render headlines and copy unreadable.

We’re trying to sell something, and setting a headline in four different sizes or copy in heavily leaded 7 point type might impress design students, but if the average person can’t read it, we’ve failed.

The testing doesn’t lie; your average person can’t (or won’t) read type that’s set outside a fairly narrow set of parameters. Don’t get too cute.

Tom Chandler | copywriting : online/blogging : marketing plans
Chandler Writes. You Profit. | The Copywriter Underground

tom

Thinking of writers as simply wordsmiths rather than idea generators. Writers think visually/idea first and words second.

tom mullen | writer & proprietor
EXIT3A.com | ANONYMOUS, JR

Following the set format for the DWW series, next up will be How Writers Work: The Process

until the next
Designers WW,
cat