I have absolute faith in you, reader; I know that you have assessed your own skills, scouted your pro bono project, met with and agreed on contracts, and created something incredible. And while your pro bono website, or advertising copy, or printed piece is beautiful, functional and delivered on time to the joy of all concerned, there is no time to rest. Now comes the hardest (and simplest) part of your work: making your creation work for you.

I know, I know — it sounds very confusing. I’m sure you’re wondering why you shouldn’t just take your samples and webshots, stuff them in your portfolio and walk away. But why should your work - a living, breathing, workable item - be sentenced to suffocate inside your zippered binder under a veneer of plastic sheeting? Don’t leave your future to chance; market your success ASAP.

Imagine if you will, two equally matched creatives in an interview. Both have good portfolios, both possess the skills necessary, both are capable. But when your potential boss says “tell me about your work,” and you can say “Well, I’ve been featured in three publications and was nominated (or won!) an award for my pro bono project,” then you’re hired! It’s not just about design, folks; it’s about whether you can bring honor to your work and your workplace. Marketing yourself will not only get your work seen and your style known - it will also get you a job.

Why is this hard? Because artists and creatives are often the last people to consider their work worthy of note or award. Admit it — where others see something of beauty, you can only point out the flaws, or the missteps, or the “oh, if only I had…” thoughts that pervade your head. My advice? GET OVER IT. Get over your own doubts and get to work.

First and foremost, make absolutely sure you’ve secured several copies of your pro-bono work. The source files alone aren’t going to cut it. You need tangible evidence. If it’s a website, you’re a bit luckier — you can take screenshots or place online links from your website. Grab as many copies of printwork, video, flash files and any copy you’ve written for your own benefit. And once you’ve gathered your work, it’s time to start.

Now it’s time write and submit a press release about your work. Some of you will leap at the chance to write something, and others will cringe. Don’t fret! Writing a press release is not about genius or writing prowess. If it were, newspapers would be staffed with novelists. Your press release should be neat and concise. It should consist of what every basic Journalism class refers to as “the five W’s”:

• Who: This is always going to be you. Yes! It’s all about you! Finally!

• What: This is all about your project. A website for non-profit basket weavers! Illustration for a major children’s hospital! Printed brochures about non-profit basket weavers weaving hats for kids in hospitals!
• When: When did this happen? When will it happen? When will it end?
• Where: Is this on the web? Is it available for download or mailing? Can people visit a place and get a copy?
• Why: Why was this project needed? Why did you take it on? Why did you do it for free?

Now, let me be very clear about the aforementioned five W’s: This is not a WAY to write a press release. This is an ORDER. If it were a way to write them, press releases would sound like caveman speech: “Sally Smith make ad for public library Monday, to make kids happy. Go to library and get one. Need to market library.”

There are literally hundreds of websites out there featuring hundreds of ways to write press releases, and I won’t go into them here. Any way that you may write them, from simple to complex, your next move is to submit them to as many news sources that you can find. I recommend starting in your area and working your way outwards. Research your local newspapers and business journals for methods of submission (many of them accept online submissions now, but nothing replaces the old fashioned phone call to make sure that you’re sending it to the right person.) If your pro bono work is website based, I’d recommend hitting up the tech-section of your local press. If your work is about re-branding, look for the business editors. Remember; the more interesting you can make your work, the greater chance of being published.

After you’ve sent out releases to the local market, you need to widen your circle to include design publications and online resources. For that, I’ve enlisted the help of self-professed “media ‘ho’” Calvin Lee, owner of Mayhem Studios. More than just a talented designer across multiple mediums, Lee is a master at getting noticed. In a recent interview with Freelanceswitch.com, , Cal gave an excellent response to the question of why self-promotion is such a necessity:

If you’re a freelancer, self-promotion is a must. How else do you expect a potential client to know about you? Most new designers—even some pros—don’t view self-promotion as an option. Many frown upon self-promoting, as it’s bragging and name-dropping. In a way, it’s bragging but to me it’s more about letting people know who I am and what I can do to help them.”

Quoted from Freelanceswitch.com,

Cal’s list is a wealth of resources; some require a fee and others do not, but if you’ve got a little investment capital it’s worth the investment. Enjoy these links.

For self-marketing, I post to many online press release web sites. PRWeb and PRLeap are the big boys of on-line press releases news wire. They used to be free but they are a little too expensive now. They start at around $80 and up.

Plus all the traditional ways of sending your press releases: local/national news papers and industry related news papers/magazines.

A few free press release web site you can post to.

+ PR Compass
+ Free Press Release
+ 24/7 Press Release
+ PR Log
+ 1888 Press Release
+ Click Press
+ Free News Release
+ I-Newswire
+ PR
+ PR 9

Portfolio, design, and social networking sites that have an option to post your news.

+ Create Magazine
+ Design Related
+ Area of Design
+ Dexigner
+ Facebook
+ Myspace
+ Meetup

Then there are Social Bookmarking sites that can drive a lot of traffic to your site.

+ Digg
+ Del.icio.us
+ Stumble Upon
+ Technorati
+ Furl
+ Ma.gnolia

A few other ways

+ Blogging - Will bring traffic to your site
+ E-newsletters - You can send e-newsletters to your current contact list and clients you want to work with.
+ Forums - Tooting on forums can bring great returns. Like getting into books, articles, interviews, clients, etc. Just look at me!

Many thanks to Cal for all his work and generosity in sharing!

In closing, just a few more tiny bits of advice:

• Work on your self-promotion just as hard as you do your creative work. It will pay off, trust me!

• Make sure you get some official boilerplate from the organization you worked for. This will save you a little time and a lot of grief when writing.
• Remember when I said you should have some scans and copies of your work? You can submit high rez JPGs and TIFFs with your release if you’d like. (this is especially useful for billboards and high-end promotional items, and especially nice with online publications) Not all places will accept them, but it never hurts to ask.
• Do NOT send your release and then forget about it. Marketing is about give and take; you need to follow up with an email or a phone call when possible. If you feel uncomfortable calling people to promote yourself, this is a great opportunity to learn how to do it. Remember - these people want a good story — they NEED a good story. You’re trying to help them find one!
• On the same note, don’t stalk the media. If they didn’t run your story about writing fortune cookie notes for the local Catholic Bake Sale, don’t call and ask why they don’t love you. Believe me when I tell you that media-stalkers who call or email nonstop, are pushy and aggressive, and make life hard for the press will be blacklisted. Be friendly, courteous and honest; and they’ll return the favor.
• When your media releases get published, make sure you collect and file them in your portfolio.

Marketing yourself is a great tool to polish your writing and sales skills, and it adds that extra dash of credibility to your portfolio. Like I said at the very top of this article, your self-promotion is the cherry atop your mound of yummy design skills. And the best part is, you can talk about yourself all day long! What could be better than that?

Up next: A walk down memory lane: a rehash of the Working Pro Bono Series. Join me as we bring a chapter to a close and open a few new doors for you to peek through!

This series is dedicated to the exploration of pro bono practices: from how to find the non-profit client, understanding the expectations of not-for profit work, setting up contracts to protect both parties and the successful (and not so successful) ways to educate yourself and your client on how creatives can and should work together to the benefit of all involved. Along the way we’ll include international design experts, research and statistics, etiquette and most importantly, how to be part of the solution. Stay tuned and let your voices be heard.

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

When I started out as a freelance designer, it was based on personal need; I’d been unceremoniously canned from a job after I taught a bubbly marketing co-worker how to use Illustrator. My boss had said “You should teach her everything you know, and in return she can teach you everything she knows!” I probably should have known something was up when I realized that she wasn’t teaching me any marketing skills, but I was young and stupid. The moment she learned the rudimentary bones of the design software, I was sailed off the back steps. There were official reasons, of course, and in the end I found myself walking out of the building, box of personal items in hand and a slightly dazed look of bewilderment on my face.

So, I took two things with me from that job; a complete list of business contacts in the area and a severance check that bought me the Adobe Design Suite for my newly purchased iMac. The business of self-employment and self-promotion I learned along the way. I made some horrible choices and some excellent ones, landed some regular customers, occasional freelance jobs, random contracts, and eventually worked my way back into mainstream jobs with non-profits or low-profits. I took the long way around and have the scars to prove it.

Why am I telling you this? Because I want you to read the rest of this post with the absolute comfort that each of the following scenarios has occurred to me, and I made equal amounts of craptastic choices and good conscientious ones. In short, I’m not telling you anything theoretical. All of these things happened to me. Listen and learn.

Pitfall One: Being afraid
I set up the meeting, showed the portfolio, got the appropriate wows and was asked to build a series of web graphics. Ecstatic that I was actually working, I drafted up a quickie contract and bid and shipped it off. They called and said “well, sounds about right.” They didn’t sign the contract, but I was afraid that if I pressed the issue they wouldn’t hire me. The web graphics job started at four graphics, bloated to eight, then ten, then sprouted rollovers, animated buttons, revisions, and a complete scrap and redesign. All along the way I was frightened to say “we need to talk about the price” because I thought they’d refuse to pay for the work, or worse - not use my graphics. In the end, I got paid 200 dollars for 40 hours of work (the real number of hours was closer to 80). The website ran for four years, generating close to a million dollars in revenue.

Lesson learned? Fear is a useless commodity. If you undertake a pro bono project, you are offering your skills for temporary usage. Don’t be tempted to pad the project out of fear of rejection or your own feelings of inadequacy, and especially don’t give in to those “camel in the tent” situations. If you feel manipulated, threatened or just plain worried that they won’t like you, then you’re thinking about them a lot more than they’re thinking about you. This story also involves failure to sign a contract; I might as well have handed them the keys to my house. Your pro bono contract is your shield and sword, and will keep you from fear, apprehension and project creep.

Pitfall Two: The Jesus Complex
I was hired as a theatre director for a kids group in my early dewy youth. When I was introduced to the board of directors, it was as a shining beacon of hope, cradling between my hands some renewed sense of purpose for all; a mighty rock by which they could strengthen the world. They had lost two other people before me, both of which promised to do great things and failed miserably. According to them, I was the solution to their woes. In the span of a year, I went from saviour to the source of all evil, mainly because I was unable to bring in enough money to keep the place afloat. Never mind that I was literally given a zero budget, no resources and a group of kids so jaded they knew I was being fired before I did. I had been placed so high on the pedestal that the fall proved fatal, and I basically had to pack my bags and leave town as yet another failed promise.

Lesson learned? If you take a project and are heralded as the ultimate solution to the woes of an organization, take rapid stock of the situation and decide if you wish to continue. Any group that will hang its entire hope on a new logo or new website is an organization looking for the next person to blame for their failure to thrive. Be very clear that your efforts will enhance their business, but not save it. I’ve said this before: any organization that clutches at you will eventually drag you under as well.

Pitfall Three: Stupid choices yield poor results
This is pretty broad, but it’s important. I was referred to a very small job: designing a small 200×70 pixel graphic for a very small website. It was just one little graphic, but the man running the site was pretty well-connected within the business community and I thought it was an excellent way to showcase my work to a broader audience. So I wrote up a bid and a tiny contract saying I’d generate three or four ideas for him.

About ten minutes after that email went out, I received a phone call from the client. “C’mon,” the guy said “I’m not gonna sign a contract for something like this…it’s just a quick graphic.” It was my second or third freelance gig and I was more concerned about getting a good reputation as an easy to work with designer. So I let it slide. A few days later I sent him four samples, each with the word “SAMPLE” across the front.

The phone rings again. “C’mon, now… I can’t tell if I like them with that big word across the front, and I need to see how it looks on the website.” Once again, I helpfully took the security off my files and mailed them back. Magically he stopped returning my calls, and, equally mysterious in nature, all four of my images showed up on his website. When I finally heard from him, his email reply was “I feel like 65 dollars for a single graphic is too much, so I am paying you 45 dollars and keeping all the files. Thank you.”

Lesson here? Pretty self-explanatory, but the first is to follow protocol, which includes signing a contract, securing your files and not bending to anyone who finds your complex desire for contracts and design plans absurd. If an organization which you intend to do pro bono work with laughs at your contract, politely and positively discuss why a contract is beneficial to all involved. If the laughter turns into refusal, then say “Thank you for the time you’ve given me, and I wish your company the very best,” then pick up your things and depart the building. If they demand that you give them source files, multiple samples, non-protected imagery or fonts, then point them to the contract and ask them if they wish to continue or not. Keep in mind that you’re offering a service, and if you don’t value it, nobody else will, either.

Pitfall Four: Death by Committee
This one is pretty long, but it’s vital. Remember the story of my firing at the very beginning of this page? It was my first experience working with a committee-style work environment. It sounds ludicrous, but it’s dead truth; I found myself with six supervisors. Any design, any brochure, any logo was to be approved by all six of these people. I literally found myself running around the building with a sign-off sheet begging for people to approve the latest revision, which would then return to the big boss, who would axe the edits made by the other six people, and then demand that I send it back around. It was a hell mercifully cut short by my firing (remember how I said that there were official reasons? One of them was “inability to produce materials in a timely fashion.”) Since then, I’ve learned quite a bit about swimming the shark-infested waters of design-by-committee.

Lesson learned? If the organization you’re working for has 14 people on their “Design Committee,” then don’t work with the committee. If this sounds absurdly simple, remember your contract, which states that they should provide a single point of contact for you to work through. Let them wrangle and finagle meetings of 14 people without you. This serves two purposes: they will have to come to a consensus before they deal with you, saving a lot of time on drafts and revisions, and it also keeps you from being considered an employee. You’re a guest at this table; don’t become such a familiar face that they ask you to bring the donuts and coffee.

That being said, you will have to meet all of the committee members, and usually at the very first meeting about the project. Be kind; realize that many non-profit (and some for-profit) employees are terrified of making decisions alone for fear of being blamed if things go sour, and be merciful. Rescue these folks from themselves. Don’t ask if they want to “throw out ideas” or if they’d like to “make suggestions before we start.” This is like tossing chickens into a pit of alligators. You’ll never get out of the room alive.

Instead, say something like “Has this committee discussed the website/logo/design item?” Nine times out of ten they will all look at each other uncomfortably; nobody expected homework. When you see this look, you can say “Well - I’ve created a questionnaire -” and hand a single copy to your Point of Contact. “And if you all work together, I’ll have a clear idea of your opinions and ideas.” Spend the remainder of this first meeting giving a project overview, a timeline and due dates. Don’t take more than 20 minutes. At the close of this meeting, make it clear that you will only need to meet with a few select staff at the next meeting (or even just the point of contact). Save the next full committee meeting for your in-person concept presentation.

These are the four major pitfalls of working - either for free or for pay - that I’ve had the joy and shame of experiencing myself. There are a host of smaller ones I’ve picked up through the years, like never taking more than three copies of a design, regardless of how many people are in the room; using designspeak in a roomful of nondesigners; treating yourself like a subordinate through self-deprecating humor; always remembering to dress like the people you’re working with at any meeting you may have.

I invite you to chime in with your “lessons learned.” Let your painful experiences light the way for some newbie, folks…because it is only through sharing our trials that we can avoid the pitfalls we’d never see on our own.

That’s it for me. Thanks for listening and feel free to share your stories. I look forward to them.

This series is dedicated to the exploration of pro bono practices: from how to find the non-profit client, understanding the expectations of not-for profit work, setting up contracts to protect both parties and the successful (and not so successful) ways to educate yourself and your client on how creatives can and should work together to the benefit of all involved. Along the way we’ll include international design experts, research and statistics, etiquette and most importantly, how to be part of the solution. Stay tuned and let your voices be heard.

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

Invisible necktie? What’s an invisible necktie? The invisible necktie separates you from the crowd of speculative designers, designers just having fun, and pimply teens wielding a copy of Photoshop Elements with a song in their heart. The invisible necktie is the professional attitude that takes you from the corner of your dorm room or attic-corner flat, to a steel-and-glass office space with a window. Or, if you prefer, a flat overlooking the Thames.

The Invisible necktie is a mindset and a process. A professional process. And it’s doubly important with a pro bono client.

Many designers tend to approach their process only from the design point-of-view - sketch out some roughs, whip up a comp, do the production and “bill ‘em, Dan-O”. They may have even been taught this method in school. But, truth be told, it’s a bit myopic. The business part is being separated from the design part, when, in reality, they’re both part of the project. Also in that mix is how you work with other professionals. Quoted from Neil Tortorella’s Power of the Process

Okay, I’ve meandered long enough on the importance of the invisible necktie. Let’s find out how to tie one on.

Arrange an initial meeting: You gathered a good chunk of info from your initial research; now it’s time to get the inside scoop. Set aside anywhere between thirty minutes to an hour to meet with your pro bono client. In the initial meeting you’ll clarify information about the client’s background, what they’re trying to accomplish, the scope of their project and their overall goals. Use this time to gather additional information about their current audience and the audiences they’d like to capture, the names of their competition, any and all available resources, budgeting and timetable for completion.

BoDo has a list of project worksheets available here, and you can also find good resources at Creative Latitude and Creative Business.

It is at this initial meeting that you should discuss how (and how often) you plan to communicate with your clients. This is a chance for you to set your comfort levels and take control over your own accessibility. That’s right, at the first meeting. Often, in a feel good situation such as a pro bono, your first impulse is to hand over your telephone number and say “Call me when you need me!” Seriously, take a step back and ask yourself if you want your clients to call you at 6 a.m., noon, 5 p.m., 8 p.m. and midnight just because they wanted to add one more thing.

Ever hear of the phrase “familiarity breeds contempt?” If you make yourself constantly available, your pro bono client will mistake you for a tool instead of a craftsperson. Suddenly, that questionnaire you introduced doesn’t need to be filled out, because they can get it to you tomorrow. That vital information for the website? It can wait…you’re gonna be there tomorrow – right? Don’t make this error, or you’ll be chasing and wasting your own precious time. Budgeting your availability makes you a more valuable resource, and it reinforces the importance of deadlines for required materials. Here’s a sample layout that has worked for me:

• Three in-person meetings.
• One scheduled phone call per week (maybe two, depending on the scope of the project.
• A weekly email update to confirm your progress, and
• availability via email with a guaranteed response of some kind, perhaps even saying “You’ll always hear something back from me by the next working day.”

2. Conducting preliminary competitive and audience research for the proposal. This is the hardest part for newly minted creatives. Sometimes you just want to strap on your helmet and make a rush for the finish line, ideas flying from your head. Once again, you need to take some time and find out who your client is. This is also a chance to educate your client on the value of preliminary research gathering. Whip up a questionnaire that’s not too long, not too short, and then ask your client to fill it out to the best of their abilities. Sample questions might include the following:

• What is the current attitude towards your existing website/logo/promotional materials from the outside world?
• What do your employees think of your materials? Not just the administrators and managers, but all levels of employees.
• Name some of your favorite creative websites/promo ideas and provide samples or web addresses.
• What do you want to keep the same or have to keep the same?

Again, check out the forms on http://www.businessofdesignonline.com/downloads-forms/, Creative Latitude and Creative Business for ideas.

While you’re waiting for them to return the questionnaire, you should fill out one of your own. Look around at similar organizations that appeal to you and to others. Do footwork and gather materials of your own.

3. Find out who your team is. If you’re lucky, you won’t be alone in this project. Most not for profit organizations have marketing or public relations people who like nothing more than to help. They’re usually the same people who wait years for the higher-ups to approve changes to their existing logos, written materials or websites. Seek them out and become their compatriots in this endeavor. It will help you tremendously in the long run.

If your client doesn’t have a team formed, explain to your contact that even though the project is not yet underway, the formation of a team is vital to gathering information needed to create an informed proposal. Here’s the list:

Team Leader: Responsible for gathering answers to the questionnaires, serves as a first point of contact for all questions about the overall project. The best team leader is someone you can call on, when the project needs a kick in the pants.

Technical Support: If you’re designing a website, you want a well-informed IT member willing to sit in and outline the capabilities of the organization. The best IT person is someone who can translate tech speak for all those involved.

Quality Control: Usually a PR or marketing person that makes sure the information you’re receiving is accurate and in tune with the needs of the organization. The best person here is someone willing to review everything before it gets to you, not after you’ve printed it.

Budget and Finance: This is usually a silent teammate, but make sure someone is available to provide a clear and constant reminder that money is not infinite. Nothing’s worse than having a team leader ask you for a 30-foot billboard only to find out they can only afford a homeless guy with a cardboard sign.

Your side of the table is a lot more fluid. That’s a very pretty way of saying that you may end up being the only person there. But if you’re fortunate and your nonprofit client has the resources, you should prepare and submit requests for quotes from project associates such as photographers, writers, printers, that are willing to get involved. If you’re lucky enough to have a team ready to help out, it will bolster your client’s confidence in the project as well as create a network of people that will benefit from your involvement. Suddenly your friend the photographer has equal access to the publicity and potential clients, and they’ll return the favor one day.

4. Preparing your proposal and agreement: By this time you should have your questionnaires from your client, your own research and your invisible tie ready to go. Sit down and draft out your plan for the project. Proposals should be like a lady’s skirt; long enough to cover the important bits and short enough to garner some interest. Don’t use the words ‘revolutionize,’ ‘maximize,’ ‘energize,’ ‘revitalize’ or any words that end in -ize. Don’t talk down about the existing materials…chances are somebody in the room approved all that information once upon a time. Be brief and clear. If you’re designing a new logo, don’t “seek to maximize the potential of the client by pioneering a new identity to propel their goods and services into the future.” Try saying something like “Create an identity that is in tune with the new goals of the organization.” Create a timetable that works for you as well as your client, with enough wiggle room to either save you when the project drags or make you look like a hero for getting the project done early.

When you’re done, check with your potential client to make sure you’ve got all the necessary information and that you’re on the right track, then make a dozen copies, stuff’em in your briefcase with the rest of your research and go to step 5.

5. Arrange for your proposal presentation meeting. By this time, you should have your questionnaires gathered. Call up your point of contact or team leader and say. “I’m ready for the proposal presentation. When can you see me?” And you know what the best thing is? You will be. So cinch up that invisible necktie and walk through the front doors. Make your presentation. Once again, remember our lady’s skirt analogy; don’t bog them down in tech-speak. Bring samples but don’t explode your research all over the table. Outline what you’ve discovered and recap what your client has given you. Allow time for questions and answer them as well as you can.

Quick tip: If you don’t have an answer during this meeting, don’t lie. Example: a company I worked for hosted two proposals for a project. The first contractor’s reply to any question he didn’t have an answer for was “We can do that.” Imagine our surprise when “we can do that,” actually meant “We can do that, but we’ll charge you twice as much and it may not actually work.” The second contractor was a little less flashy, a little more cautious, and unafraid of saying “I don’t have a ready answer for that, but I can find you one.” That honesty that won him the contract.

After you finish this meeting, don’t be afraid if you don’t hear an answer right away. All projects are risky, and your client will want a chance to hear feedback from their team without you. Shake hands, say thank you, ask when you might expect a response, then head home and recap what worked, what didn’t and what was unexpected. Get answers to those questions that you didn’t expect and send them on to your contact person with a thank you note (by email or in print is best - that way the information can be shared.)

At this point, you’ll be surprised to know that your work is done. You have done just as much work and put forth just as much effort as any marketing/branding/advertising/design firm in the world on any project. If they pass on your offer, you’ve lost nothing but fifty sheets of paper and a little gas money. You can ask them to provide some feedback on why the project wasn’t picked up, but don’t press the issue; you’ve already gained immense knowledge in how to create a proposal. In the end, you are your own best judge. Pick up your newfound skills and find another pro bono project.

But if you DO get the call saying “we’d like to start immediately,” then you’re in for an equally wild ride. Strap yourself in and go to step 6, which is…

6. Sign your contract. Wait a minute…you don’t have a contract? Well…well, I never… *sigh* Now I’m going to have to write a whole column about why you need a contract for pro bono work…you better be lucky that I like y’all as much as I do. Stay tuned for the epic story of The Camel in the Tent: or Why You Need a Contract for Pro Bono work.

This series is dedicated to the exploration of pro bono practices: from how to find the non-profit client, understanding the expectations of not-for profit work, setting up contracts to protect both parties and the successful (and not so successful) ways to educate yourself and your client on how creatives can and should work together to the benefit of all involved. Along the way we’ll include international design experts, research and statistics, etiquette and most importantly, how to be part of the solution. Stay tuned and let your voices be heard.

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

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