“Words are not much valued on the Internet, perhaps because it features so many of them.”

So reads a line in a recent article by David Streitfeld in The New York Times, called “Funny or Die: Groupon’s Fate Hinges on Words.”

The article describes how Groupon — one of those companies offering “deal of the day” discounts on products or services — uses words to grab attention and sell. As Streitfeld puts it, “Groupon’s breakthrough sprang not just from the deals but from an ingredient that was both unlikely and ephemeral: words.”

Apparently the words are doing the job, with Groupon “raking in more than a billion dollars a year.”

So if words are so important to their success, and they are so successful, what do you figure Groupon is paying the people who craft those magical, attention-grabbing words? Top dollar?

Think again. Streitfeld calls the pay “less than extravagant,” about $37,000 a year for new writers. According to PayScale’s 2010-11 College Salary Report, this is about the median starting salary for some of the lowest-paying college degrees, such as drama or fine arts.

No, words are not much valued, are they, on the Internet and elsewhere. After all, anybody can talk and write, can’t they? And who cares about the careful choice of words to convey just the right shade of meaning? Who cares about grammar and spelling and punctuation?

Thanks to my friend Donna Papacosta for pointing me to the article, and to Renjith Krishnan and FreeDigitalPhotos.net for the image.

Although I am not actually in my bathrobe right now, I could be, and that’s the whole point.

Learn more about that in my last post about it.

Blogger Kristie Rimmele calls working from home “an empowering way of life worth celebrating,” and I heartily agree. The best thing isn’t working in your bathrobe, though; it’s that you CAN work in your bathrobe.

I don’t normally work in my bathrobe. I shower, put on makeup and dress as if I’m headed farther afield than down the hall. Sure, I wear jeans and a sweatshirt instead of a suit on days when I’m working in my home office. But the point is, I could be sitting here in fluffy bathrobe and slippers, and who would know?

Bathrobe or not, working in a home office gives you the flexibility to work the way you work best and the way that brings balance to your life. Snow days don’t send you into a panic as you try to figure out how you can work from home for a change, because you’re already there. You can work as long as you necessary to get the job done, or run errands at odd hours when you’re caught up.

As Kristie says, having a home office is the ultimate life balancer. “Working from home gives you the freedom to schedule your work around life, rather than the other way around. That way you can create a life that you truly love.”

So if you’re already in a home office, celebrate! Visit Kristie’s site to enter her contest (you could win a bathrobe and other prizes) or share photos of you working in your bathrobe, even if it’s just a staged shot.

What about you? Do you work in a bathrobe or fuzzy slippers?

Thanks to Sharron Goodyear / FreeDigitalPhotos.net for the bathrobe baby photo!

You can have it fast.
You can have it good.
You can have it cheap.
Pick any two.

If these are words for independent communicators to live by — reflecting the value of what we do — why do so many of us buckle when a prospective client balks at the price we propose?

A lively discussion about how to respond to “low ball” clients was just one of the benefits of attending the January meeting of the Halton-Peel Communications Association. Members and guests came away with great advice from panelists Renée Brisson-Khan, graphic designer and owner of RBK Artworks; Donna Papacosta, writer, podcaster and owner of Trafalgar Communications; Val Sanna, graphic designer and owner of Ignition Design & Communications; and Diana Spremo, PR specialist and owner of Spremo Communications. Anne Von Rosenbach, writer, video producer and owner of AVR Concepts, moderated. Here are some of the tips:

On contracts

• Always use some form of contract — at the very least, an email or letter — spelling out agreed-upon terms, especially with a new client. Include the phrase “as agreed.”
• Define the scope of work, timelines, copyright and usage rights; limit the number of revisions.
• Make sure the client understands his/her responsibilities and the need for timely response to meet deadlines.
• Include a line limiting how long your proposal is valid; 30 days is a good number.
• Spell out the strategic value you bring to the work and how that will benefit the client.
• Specify whether long distance calls, mileage, courier and other incidentals are included or not.
• Define payment terms, including billing a percentage up front and at intervals throughout the project. Include a “kill fee” for projects cancelled after you’ve begun work.
• Get a deposit, especially with new clients. As Donna pointed out, “No one does custom work without a deposit.”

On setting/raising rates

• Use a project rate, which doesn’t penalize you for working quickly and efficiently. Track your time to check how that converts to an hourly rate.
• Package your services, which may more clearly show the value of what you offer and reduces the focus on price per hour.
• Consider the PITA (pain in the …) factor and build in extra time for a demanding client.
• If you think you’re charging “just enough,” you probably aren’t; add 20%.
• Raise your rates with new clients.
• If you quote a fee and the client accepts it without hesitation, you know that next time you should charge more.

Dealing with clients who think your rates are too high

• Never accept a lower rate than what you’ve quoted just to get work; it devalues what you do.
• Offer a compromise, where you charge a lower fee but reduce certain aspects of the job.
• Explain the value of the work and point out additional services included in the price.
• Show how your rates reflect your experience and are competitive within the local market.
• Decline the job, but offer to refer the client to a lower-cost alternative in your network.

The panelists agreed they might work for less than their usual rate for charities or causes they believe in; for a colleague or friend; to raise their profiles, try something new or get a great portfolio piece.

Other advice

• If the client doesn’t pay as agreed, use friendly reminders. Make friends in the client’s Accounts Payable department.
• If you subcontract work, a 15% markup is standard to cover your role as project manager.
• When people ask if you’re busy, don’t give the impression that you don’t need/want more work.
• Put daily and weekly marketing activities on your calendar and keep to them.
• Keep a lid on unproductive time by turning off mail alerts and limiting time on social media.
• Listen to your gut. Never let anybody push you into accepting a job you don’t feel comfortable with.

The event was a reminder for the independents in the room of the importance of networking groups specific to what we do, like HPCA and IABC/Toronto’s Professional Independent Communicators. These groups help strengthen our business, broaden our networks, introduce us to like-minded people, and get us out of the office. A great deal all around, I’d say!

Last week, I attended a networking/professional development event on just that topic, put on by IABC/Toronto’s Professional Independent Communicators (PIC). The session was a panel discussion about fees and getting paid. Here are are some of the tips shared by the panel, which was made up of Kevin Hanson (a communication consultant specializing in performance management and reporting); Donna Papacosta (writer, podcaster and chair of PIC); and Marcia Ross (writer and editor of IABC/Toronto’s Communicator newsletter):

On setting up your fee structure/proposal:

• Not certain what to charge? Ask senior level corporate communicators what they pay for similar work, or ask other independents what they charge. IABC members can also view the 2009-2010 salary survey (log in required), which includes some information on freelance/self-employed members.
• Your fee may be based on an hourly rate, but present it as an overall project fee.
• It’s up to you to position yourself as a professional. You do not — do not! — want to be perceived as the least expensive; there will always be someone desperate enough to work for practically nothing, and that is no way to run a successful business!
• Ask the potential client what the budget is, but don’t be surprised if they can’t/won’t tell you. Let them know you have done a similar project for $X and another for $Y (a high and low version) and ask which is more in their range.
• When coming up with a project fee, consider how much time you think the project will take, and add another third if you aren’t sure (you’ll probably underestimate!). As you gain experience, your estimate should be close to the mark.
• In your proposal/quote on a project, spell out the process you will follow, including such things as how much information the client will provide and in what format; how many interviews will be conducted, and if they will be in person or by telephone; how much time you you will dedicate to reviewing and analyzing the information; how many drafts you will produce; and so on. Be specific.
• Talk about the benefits you bring to the project, such as the value of your experience or your insight into a certain aspect.
• Nip “scope creep” in the bud. Make it a practice to requote when asked for work above what you have agreed to, as in, “I’d be happy to add this to the project; let me send you a revised proposal.”
• Asked to provide next-day delivery? Charge a 50% premium.
• A reasonable charge for project management is 5-10% of your expected project hours.
• Track your time and compare the time you estimated for the project to the time you actually spent. Use this to improve future estimates. The panelists recommended systems such as TimeTracker or TraxTime.
• Should you vary your rate for different types of work? The panelists typically charged one rate, whether it was for writing, say, or media follow-up.
• It’s up to you if you want to lower your rate for a charity, a cause you believe in, or to get a foot in the door. In the latter case, be warned that it will be difficult to raise your rate later on, because you’ve shown you can be “had” on price.

On how to deal with a low-balling client:

• If a potential client says he/she can get what you’re discussing for half your price, let them! That’s not the type of client you want, and that’s not how you want to position yourself. (See above.)
• If the immediate reaction is “that’s too high,” ask again what the budget is (see above). Or show how taking out one or two of the variables could lower the price. Never just agree to a lower price without altering your proposal.

On how to ensure you get paid/get paid on time:

• This goes back to the expectations you’ve set up front. You are much more likely to get paid when you expect it if you’ve spelled out the terms from the start, such as one-third is due when the project starts, one-third halfway through, and the final third when you submit the completed project.
• Summarize your discussion in a proposal, contract or one-page letter. Spell out your expectations.
• With a new client, do not start work until you have the first cheque. Does a painter or landscape expert start work on your house without a deposit? No. You shouldn’t either, unless you have a long-standing good relationship with the client.
• It sounds like a given, but submit an official invoice that includes all your contact information and details of expected payment, such as “payable within 30 days.” Some companies are obliged to take any discounts, such as offering a 2% discount if paid within 10 days.
• If the payment is late, call your client and ask about it. Don’t assume it’s deliberate; sometimes the paperwork gets lost between departments and your client will sort it out.
• Make friends in the Accounts Payable department and ask if there’s anything they need to move the payment along.
• Make a personal visit. Tell your client you will be in the area and can save them a stamp (if they still mail paper cheques) by dropping in to pick it up.

What else would you add to the discussion?

Oh, and don’t miss PIC’s next session on Wednesday, February 2, on getting the most out of LinkedIn!

(Photo courtesy of jscreationz and FreeDigitalPhotos.net. See jscreationz’s portfolio.)

1. “Nationally speaking, men do appear to make more on average than women.” According to the survey, the mean (essentially the average) yearly salary / median (the middle-most value when the values are arranged in increasing or decreasing order) are:

• for men, $97,508 / $82,250
• for women, $75,937 / $72,000.

The data “provides a reflection of what some people in the communications/public relations profession are currently earning,” although there were various disclaimers about the data not being “nationally representative statistical samples” because of a modest response rate in some areas. Still, I found it interesting/appalling that there was such a gap.

2. There is also a big gap between what agencies charge and what independent communicators charge, making indies a bargain. The mean / median hourly rates:

• for agencies, $165.50 /$150. The lowest category was $125 or less.
• for self-employed, $84.20 / $55.70. The lowest category was $25 or less (ahem: if that’s you, time to raise your rates!)

Writers who charge by the word still mostly charge what has been the typical rate for at least a decade: $1.

Read the news release with the summary of findings or log in with your IABC I.D. to download the full results as a PowerPoint presentation.

What do you think of these results? If you read the full report, what else jumped out at you?

This is fresh in my mind because I while on vacation last week, I was chatting (over a few margaritas) with a few ladies I had just met, and one of the women spoke warmly of her son. Although she seemed to be a loving and caring mother, I later found out from her friend that she did not come across that way to the son at all, and had not given him so much as a card for the birthday he’d had a few weeks earlier.

How much harder is it to be one way to one group of people and (perhaps after a few margaritas) be completely different to another group than it is to just be yourself all the time?

At a recent meeting of IABC’s Professional Independent Communicators, personal brand strategist Paul Copcutt talked about personal branding and what sets us apart. Exercises where we discussed words that would immediately identify specific coffee shops without naming them showed clearly that when we make a purchase, it’s not just about the product or service. If each one will sell us a coffee, how do we choose between Tim Hortons and Starbucks?

Paul explained that rational attributes are the basic foot in the door; like every coffee shop selling coffee, you must have these to be considered. The emotional attributes are the unique aspects that set you apart and actually get you the job or the sale.

For example, you’d expect and want an accountant to be analytical and good with numbers, and a communicator to be creative and good with words. What sets otherwise equally qualified people apart might be their flair for fun, their responsive customer service or their vision.

Paul recommended identifying your strengths and focusing on them; “you’ll never get any better than mediocre at your weaknesses.” One way to discover your strengths is to use a tool called a 360 Reach assessment, which offers a 15-day free trial that invites your contacts to choose among various attributes the ones that best describe you. You then work the terms that best capture your strengths into your value proposition, your “elevator speech” or the one-liner that sums up what you do.

In general, Paul said, both family and work colleagues will likely describe you the same way; you’ll show similar characteristics whether at home or at work. But he did describe someone who had suppressed one aspect of his personality at work. With Paul’s encouragement, he eventually allowed this hidden side to come out. This turned out to be welcome in the workplace and actually strengthened the fellow’s performance. Plus he could just be himself, all the time.

No margaritas required.

You wouldn’t believe it, looking at my office last week, but I am not a hoarder.

Hoarders, as displayed to the world in the A&E show of the same name, have “an inability to part with their belongings” that is so out of control, they are on the verge of a personal crisis. A crisis, of course, that they are proud to have on national television.

It’s not an inability to let go that causes my office to overflow with papers and stuff. It’s a tendency to keep a lot of things for reference, and a lack of disciplined and regular purging. Who has time for tidying, especially when you’re juggling multiple projects and meeting urgent deadlines?

So when I decided earlier this year to finally treat myself to a new desk large enough to hold everything I need at my fingertips, and a new bookcase to replace the shelves hung on wall-mounted brackets, I had my work cut out for me. Out went the old: desk, shelves and contents. Before anything went on or in the new, I had to review and purge, which explains the waiting pile shown here.

It took me several days to conquer the mess and end up with an office that brings a smile to my face rather than an involuntary shudder. Here’s how you can do it, too:

•  Get rid of old files, out-of-date software manuals and conference summaries. If you haven’t looked at something for years, or it’s obsolete, you don’t need it.

•  If you subscribe to magazines and newsletters, don’t keep the entire issues. Instead, cut out the appropriate article or section you want to keep and file it somewhere you can easily find and refer to it again. I used to have dust-covered collections that went back years; not any more!

•  If you keep hard copies of projects you worked on, put them in one place. I had binders of client work in three or four different places and couldn’t always find one when I wanted to look something up. Now they are all on the shelves over my desk, where I can refer to them easily.

•  Gather all your office supplies in one spot and put like items together. Doing this showed me that I had bought envelopes when I didn’t need more, among other things.

•  Fix the things that bug you. Why did I have duct tape holding together a binder that I referred to often, when I had a perfectly good almost-new binder I could have used? Oh, right, that binder wasn’t available because it held back issues of a newsletter that I never referred to.

•  If you have awards or other items that make you smile, put them on display.

I promise that my office will never get to its former untidy state. But it will be an ongoing fight against my packrat nature, so I can never let down my guard!

Looks like February is following the frantic pace of January when it comes to networking. Tonight I’m out with a communicator I am mentoring, plus another IABC colleague. Tomorrow and Monday, I’m having lunch with friends. And I am signed up for these events:

February 10, 6:30 – 9 p.m.
HPCA presents: Encore Improv
Peel Village golf course, 29A Hartford Trail, Brampton, ON
Whether you are negotiating, meeting with a client for the first time or fielding questions, being quick on your feet is an essential business skill for independent communicators. Learn from the Second City style of improv comedy how to respond in the moment, spark your creativity and sharpen your listening skills. Free to Halton-Peel Communications Association members; $20 for non-members. Sign up at www.hpcaonline.com. (Note: If there is still small print that says the event is closed, ignore it; it’s not. Register with Mary Harvey.)

Feb. 11, 6-8:30 p.m
IABC/AIP presents: Show Your Love for the Planet
Haworth Toronto Showroom, 55 University Avenue, Toronto, ON
IABC and its Alliance of Independent Practitioners offer a “sustainable” munch & mingle. Learn about sustainable approaches to communications while you network. Participate in a “green footprint” icebreaker and have a chance to win eco-friendly door prizes. IABC members pay $30, non-members $40. Register online.

Feb. 23, 6:30-8 p.m.
IABC/Toronto Westend networking event
Wendel Clark’s Classic Grill & Sports Lounge, Oakville, ON
Strictly networking fun for $25. Register by e-mail.

Feb. 25, 6-8 p.m.
IABC presents: Successful Communications in a 2.0 World with Steve Crescenzo
Sutton Place Hotel, 955 Bay Street, Toronto, ON
Steve Crescenzo is one of the U.S.’s leading experts in employee communications. He comes equipped with dozens of case studies and best practices in Creative Communications from both small and large organizations in Canada and the U.S. He’ll show you how to use multimedia tools such as podcasts and video without blowing the budget, and five things you can do to turn intranets and websites from electronic wastelands to powerhouse communication tools.  IABC members $45, non-members $65. Register online.

How is your networking going so far this year? Are you getting out there?

Okay, so spinmasters will say Dr. P. was “outsourcing” the work because he was so busy working. Oh, please.

I say he should be able to spare 10 minutes to duck into the drugstore and buy a few simple things, showing that he pays attention: knowing/buying the cosmetics his wife uses, the chocolate she likes, the perfume she’s been wanting…you get the picture. His wife has a right to expect something from him and it’s just not the same if someone else does it.

At a networking event the other night, we were talking about entrepreneurs who use “& Associates” with their name. Someone wondered if it’s ethical if the contract says “I will do X” but then we subcontract the work so someone else actually does X.

The answer, of course, is “it depends.”

Is the client “buying” you and you alone, or just a product or service? Is the client the kind of wife who wants her husband to pick out a personal, meaningful gift, or the kind of wife who just wants an expensive gift?

Sometimes the client truly wants you; for instance, you’ve made a name for yourself in your flare for media relations, or your ability to put someone at ease and get a great interview. If you’ve promised that you will be the one doing this, the client is buying YOU.

But sometimes the client just wants the work done. Your firm has the reputation for getting things done, and the client is happy to hire you, knowing you’ll look after everything. So if you write a media release but you subcontract media calls to someone else, that may be fine. In that case, though, you should make it clear — specifying in your contract or letter of agreement — that you occasionally work with others and “we” will handle X. And you certainly should review your subcontractor’s work and make sure it meets your standards.

Do you agree?