We’ve come to an end, ladies and gentlemen (and those who have yet to make up your minds). We’ve talked about never working for free again, never working against your education and training, working on your own terms and educating yourself as you go along. We’ve found places to look for pro bono opportunities, places to find contracts and ways to deal with difficulties. We even found ways to trumpet your success to the masses. What could possibly be left?

Well…to be honest with you…not much. I don’t know about you guys but I’m exhausted. Except maybe one thing. Because there’s one big secret about this entire series:

I’m not getting paid to do this. Not a single word. Not a single line.

I took this series on for about four separate reasons. I wanted to write for BoDo because I believe in BoDo. I wanted to learn about online blogging, online publishing and online writing. I wanted to expand my knowledge of Web 2.0 as more than a catchphrase. And I wanted a creative outlet to write about something I loved.

To this endeavor I brought to the table over ten years of experience and endless hours of college and real-world education. I know nonprofits - good, bad and ugly, inside and out. I know freelance work. I know people. I know writing for the public. I know kung fu.

But there were many things I didn’t know when I started. I didn’t know about timed publishing, but I learned very quickly; I didn’t comprehend the vagaries of HTML, but I picked it up as I went along; I didn’t know how time-consuming responding to comments would be (nor how much fun it was!) but I threw myself into it with glee; I had no idea how WordPress worked, but I made it happen.

Did I benefit from this series? You bet your sweet tuckus I did.

I currently work for a very large, very nice, very professional non-profit that decided to upgrade their website. We were called in to a meeting about the redesign where we were asked the following questions:

“Have you ever worked with CSS and online publishing?” Why, yes I do…now.

“Do you have any experience with HTML editing?” Why, yes I do…now.

“Do you know about tagging? How about SEO.” Why, yes I do…now.

I could keep going, but you get the drift. I learned. I grew. I’ve expanded my understanding of the creation of an online presence exponentially. All because I was willing to say yes - to working pro bono on my terms, on my time and in my way.

And I have triumphed. I’ve added nearly a dozen lines to my professional resume, my career skill-set and my personal growth. I even picked up a dozen freelance writing gigs along the way that did make money. I didn’t make a dime on this series and yet I’m richer for every word I put into it. I’ve gathered something that can never ever be taken away, devalued or spent.

Maybe you think “I don’t have time to work for free.” Hogwash; I pull a 40-hour workweek and a full set of weekend activities and managed just fine. Perhaps you think “Well, that’s great for you, but I’m not a writer — I’m a different type of creative individual.” Rubbish again; whether you write, code, design, illustrate or sing jingles you can follow these articles and reap the benefits just as I did.

There are millions of reasons to say no to a new project. Some of them are even believable. But those reasons are just a million little fears made manifest in the smoke of your insecurity. The fear of what-might-happen is the most subtle and insidious poison ever manufactured inside the human mind. The easiest way to combat that fear is simple; step into the unknown and it will not follow.

Work pro-bono to free your mind. Once you get past the minutiae, you’re free to focus on the bigger and better things. They’ll make you bigger, better people. And, young or old, newbie or veteran — the rules still apply. Always get something back, even if you work for free. Treat your pro-bono work and clients like paid jobs and they’ll return the favor. Make a contract to protect everyone’s best interests (with a few extra steps in there to save your own skin). Ask questions. Learn about things you didn’t know before. When the work is done, show the world. Bigger and better, folks…bigger and better.

I wish the best of all things to all of you who have taken on a project pro bono. To my collaborators and friends: Jeff Fisher, Tamar Wallace, Calvin Lee, Jay Wickham and the unflagging support of my editor-in-chief and cheerleader Catherine Morley, I thank you from the bottom of my big fat motherly heart. And to those of you still on the fence - just go ahead and say yes to pro bono! The worst that can happen is that you’ll learn something about yourself, your world and your work.

I encourage you to ask questions and leave comments and tell me how you feel, what you think, and let me know what I’ve missed or just to say hello. In the meantime and every time - be gentle with yourself.

Thanks, and ciao for now.

This series has been 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.

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

Hello, I’m the Pro bono Camel!

Um…hello? What are you doing with your head in my tent?

What, me? Oh, well you offered to help me out here by letting me into your campsite, but it’s a wee bit cold out here, so I figured I’d just get my nose out of the cold.

Oh, sure! By all means! Let me just move some things around…wait a minute…I see a hoof in the tent, too.

Oh, shucks…yeah…my right hoof is kind of cold. Do you mind?

Um…no, I guess not…

Good! We’re getting along smashingly! Of course, it seems silly to have one hot hoof and one cold hoof. I’ll just slide the other one in here. Can you make some room?

Well, um…it’s a small tent, Mr. Camel…

Are you saying that one hoof is fine, but both are too much? C’mon…

Well, I guess…wait a minute…there’s a LOT more of you in here…

My hoofs are attached to the front half of me, silly! Ooch over…and is there enough coffee for everyone?

Um, let me check the pot…

Lovely! My, what a nice painting! I can’t quite see all of it though…let me just….

Whoa whoa whoa…um…you’ll have to back up a bit. I can’t have all of you in here at once!

Really? It doesn’t SEEM crowded. And we love your work! Do you have any more? And I won’t say no to one of those powdered donuts.

Wait…wait a sec. I’m good with the nose and the hoofs, but the rest of you isn’t gonna fit in here.

I seem to be very cozy, thanks for worrying about me. Are the powdered donuts fresh?

They…uh…well, they’re powdered donuts…I don’t think they’re actually fresh ever.

Oh, too bad. Maybe you should run to the store for more. You’ll have to leave from the other side of the tent, though. No room in here…you should have thought about that before inviting me in, silly tent-dweller!

Has this ever happened to you? Probably not, unless you’re living in a tent near a high camel-traffic area. But if you’ve ever taken on a client, you’ve invariably dealt with the dreaded “project creep”. Perhaps it’s a logo redesign that turns into stationery and business cards, or a website that suddenly needs a shopping cart.

With a paying client, you have some leverage over project creep by charging extra for extra services. But unless you take charge, pro bono work has no built-in defense systems. And as a result, you’ll hear horror stories about the free project that ended up costing a fortune, either in lost time or actual money. Worst of all, any attempt to push the project back into its original confines is often met with disbelief and anger; after all, you were the one who offered to help in the first place, right?

The solution to the camel in the tent scenario is simple: build a fence. The solution to pro bono project creep is the well-defined contract. Before you put pen to paper or mouse to the pad, create your contract. Outline exactly what you’re willing to do as well as contingencies for any additional work. Don’t leave anything open to chance.

You might be saying “gee, a contract? But I’m only writing a few press releases.” or “I don’t know if it’s worth the hassle…I’m only refreshing their old logo, and besides, I’m not really a professional yet.” This thinking is pure rubbish and you know it; it’s the creative equivalent of handing a car thief your keys and saying “Now don’t steal it, please.”

If you don’t value your time, nobody else will. A contract is a visible, tangible expression of both your creative value as well as a proclamation of how much respect you give to your client. It’s also excellent practice for those clients who will one day pay you cold hard cash.

For example, if you agree to write a series of press releases, first decide exactly how many press releases, how long it should take to write them and when and where they’ll be released. Give yourself a due date on every single one and add a few extra hours for editing and wrapup. If your potential client makes decisions by committee, demand a single representative of your pro bono client as your liaison. Create an escape clause that allows you to end your work arrangement if you find yourself incompatible. Put a pricetag on your work to let them know they’re receiving a commodity as valuable as anything else in the world bought or sold. In short, prepare for rain while the sun shines, and you’ll never get wet.

There’s an old saying in the business world: Contracts protect everyone. Nevertheless you may find yourself at the end of a cold hard stare when you present your local volunteer rose pruning society a three page contract outlining the particulars of branding their annual tea party. People view contracts with distrust because so many of them are evil convoluted creatures (the contracts, not the people)

Your solution here is to make your contract as readable, as transparent, as you can make it. There’s no need to say “The party of the first part, hereinafter known as the Designer, agrees to create a physical representation of the organization of the party of the second part, hereinafter known as the LadyBugs Rose Pruners of Greater Wagga Wagga…” when simply saying “I, the Designer, agree to the creation of a marketable identity for the LRPGWW, and agree to do the following work…” will do just fine.

Present your contract, offer to explain or detail anything in question, and then have everybody sign it. And by sign it, I mean SIGN IT. Don’t fax it over, email it by or leave a copy in the mailbox. And if the LRPGWW will not sign your contract, don’t work for them.

There are some great resources out there in regards to contracts. This site has examples; so does Creative Latitude. Good contracts, like clothing, require tailoring to your specific needs. Don’t over complicate and don’t undercut yourself. Remember your most powerful tool is your gut instinct. Remember that your contract keeps you safe and makes for a healthy relationship for all involved. If you doubt that, remember there’s a coffee-drinking, powdered donut eating camel ready to move into your tent. And nobody wants that.

Except the camel.

Next time, We’ll have a sample pro bono scenario and a contract to match. Stay tuned!

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

Client management – Sometimes it’s the hardest part of my job. Clients wait to give copy and approval. Up until then they are into other projects. Crazy stuff.

Does it seem like you are more concerned about a project than your client is? Do you often deal with ambiguity? Who’s in charge? Do your clients have any idea of how they will work with your firm?

If you’ve been hired, then it’s a BDO*: you’re in charge. (At least you’re supposed to be.)

There are two mantras you should recite every morning before starting your day:

1. I will manage my client’s expectations
2. I will lead my clients

Managing a client’s expectations starts with a great relationship, where they value your input and respect your recommendations. Understanding the relationship informs how you will lead. These are mantras that declare your intent to focus on their needs and expectations in a proactive manner, and make the experience of working with your firm easy.

I will manage my client’s expectations

Too often, we can’t lead our clients because we haven’t:

• Understood how the client wants to work with us
• Defined our expectations (to the client) of the collaborative relationship

To manage your client’s expectations, you need to make clear your policies and procedures. Do you expect timely approvals? Put it in your contract, and make it clear to them. Do you provide weekly status reports? If so, are they aware that you do? Should they call you for every little edit? If not, whom do they call? If a client doesn’t understand how your firm works, then you will constantly be responding to their requests, instead of proactively anticipating their needs.

It’s two-sided: The client has needs and expectations, the design firm has (or should have) workflow procedures. Your procedures will have anticipated their expectations, and the client will make it clear if those will work for them. Of course it’s not a one-size-fits-all approach, but it all starts with the relationship that your firm has built with the client.

I will lead my clients

Do you wait for the client to call or send copy, or is your firm proactive in monitoring the project schedule? It’s easier to wait for the “trigger,” the email from the client that indicates you need to drop what you’re doing and fight that fire. Do you wait for input from your client, or do you take the lead role in the collaborative relationship?

Anticipating deadlines, respecting timelines and awareness of your client’s needs will allow you to manage your time and lead your clients. This thinking can be applied to everything from business development to project management. It allows you to control the relationship and the workflow, rather than letting it control you. It allows you to lead your clients, and guide them – not let them pull you along.

My recommendation? Develop your leadership skills. Your clients will notice. The rest will follow.

*Blatant Display of the Obvious

By Brian Sooy
© 2007 Brian Sooy