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Creative Live Xtra Goodies Bundle

Companion to Command the Fees You Deserve

With Ilise Benun Of Marketing-Mentor.com

@MMToolbox

Sign up for her Quick Tips at: www.marketing-mentortips.com

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January 2015 Dear CreativeLive Friend, Thanks so much for downloading the “Xtra Goodies Bundle” that goes along with my first CreativeLive course: Command the Fees You Deserve. I have so many resources to share and they didn’t all fit into the course. So I put together this special bundle. Please take advantage of everything you see here and work at your own pace. If you get stuck or can’t figure out how an idea applies to you, I urge you to take advantage of my free 30-minute mentoring session and we can brainstorm anything that isn’t clear. (Sign up for it at marketing-mentor.com). In the meantime, you’ll also get my Quick Tips every other week – just one of the ways I can keep you on track. Enjoy, Ilise Benun Your Marketing Mentor Connect with me: Web site: http://www.marketing-mentor.com Twitter: @MMToolbox LinkedIn: www.linkedin.com/in/ilisebenun/ Facebook: http://www.facebook.com/MarketingMentorToolbox Pinterest: http://www.pinterest.com/ilisebenun/

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Table of Contents

1. [Report] Freedom of Freelancing………………………………………………………………04

2. [Worksheet] Who’s In Your Network? ………………………………………………………..11

3. [Article] Email Newsletter or Blog?............................................................................................12

4. [Tool] Weekly Marketing Checklist……………………………………………………………15

5. [Cheat Sheet] Client Red Flags (Watch the video here)………………………………………..16

6. [Worksheet] Locate Your Market………………………………………………………………19

7. [Link] Ed Gandia’s Cheat Sheet: 7 Proven Steps to Generating a Steady Stream of Hot Leads

with Short and Simple Prospecting Emails……………………………………………………21

8. [Article] 5 Steps to the Right Clients (Listen to the podcast here)……………………………..22

9. [Links] Recommended Links for Pricing………………………………………………………25

10. [Worksheet] Marketing-Mentor Hourly rate…………………………………………………..26

11. [Tool] Emily’s Basic Proposal Template……………………………………………………..28

12. [Tool] Pre-Proposal Question Checklist……………………………………………………….46

13. [Article] Closing the Deal……………………………………………………………………...47

14. About Ilise Benun………………………………………………………………………………51

15. Need Help Staying on Track?......................................................................................................52

CreativeFreelancerConference.com

© Ilise Benun, Marketing Mentor  

The F reedom of Freelan cin g

   

B y I l i s e B e n u n  The current economic crisis has thrown a spotlight on how risky it is to depend on a paycheck for your financial survival. The reality is, today, you actually have more job security as a freelancer - not less - than your friends who work 9-to-5 for a company!

 Not only that, you also have freedom. Freedom is inherent in freelancing. As a freelancer, you are free to come and go as you please, not bound to one employer who holds your purse strings; you are free to choose your colleagues, free to hire and fire clients according to your own criteria. Freelancing puts you in the driver’s seat to choose what work you do and with whom, instead of being at the mercy of whoever happens to find you.

 But “free” doesn’t mean no cost. The freelance life has a price; that price is responsibility and effort. You only get paid when you work, so you must make sure you always have work.

 For anyone who is serious about taking advantage of the “freedom” of freelancing, this white paper will outline exactly what it takes to become a successful freelancer, no matter what type of services you are offering.

 We’ll start by debunking the most popular myths about freelancing, then move on to the skills and personality traits you need to develop, finishing up with the rewards you can realistically expect from freelancing.

 

Part 1: The 10 Myths of Freelancing  Myth #1: You’ll be a creative running a business.  Reality: Being a successful freelancer starts with the right mindset. You must see yourself as an entrepreneur providing services, not a “creative” or an “artist” trying to make a living from your skill or talent. This is a subtle but important distinction. If you see yourself as a professional who provides services or, better yet, a solver of problems, you’ll realize that what you do commercially for others is based on their need. And focusing on the needs of the market – instead of on you -- is a direct path to a thriving business. Also, if you shift the focus from yourself to the needs of your clients and prospects, you may become less attached to the work you do, which is also essential to success.

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Myth #2: You’ll be free to do whatever you want.  Reality: Freedom is a double-edged sword. In theory, it’s true that you are free to do what you want. However, some of the things that you don’t want to do – like bookkeeping and marketing – are essential to the survival of your business. If you ignore them, you may singlehandedly undermine your own success. You are certainly free to do that, but it’s not a very good idea.

 Myth #3: No one will tell you what to do.  Reality: Your clients won’t tell you what to do the way a boss would, but it may feel that way sometimes. An “independent” spirit isn’t always conducive to successful negotiation and you may end up driving clients away if you perceive their requests or needs as “demands” that you can’t discuss or negotiate. You must interact with customers even if you would rather not be bothered by them. It may seem like they’re dictating deadlines, fees and everything in between, unless you determine and state clearly your own terms and conditions, such as how much time you need to do a project, how and when you get paid.

 Myth #4: You’ll have lots of personal time to have fun and relax.  Reality: There aren’t enough hours in the day to get everything done. Besides the paying work, you are responsible for writing proposals, finding new work, following up, billing your clients, dealing with customers, even cleaning the office (which sometimes doubles as your home). And don’t forget that everything takes twice as long as you imagine it will. You can count on that.

 Myth #5: If you do good work, clients will flock to your door.  Reality: There’s no flocking involved. Once you build it, then you have to go out and spread the word about it, in a world that is already cluttered with lots of other words intent on being spread. Especially now, the competition may be stiff, but many people are discouraged and unmotivated; if you can identify and communicate clearly what sets you apart from the competition, you are more likely to get the work that is out there.

 Myth #6: “My work will speak for itself.”  Reality: Have you ever noticed that the ones getting the work aren’t the most talented? Talent sometimes doesn’t even matter because creative services are subjective. Plus most clients can’t discriminate between excellent and mediocre. They don’t know how much better you may be.

 You must toot your own horn, which doesn’t mean boasting or bragging. It means getting the attention of the right people -- qualified prospects -- long enough to make an impression, then educating them about how you can help t hem. It’s called marketing, and those who do it, get the work.

       

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Myth #7: You’ll only do work you love.  Reality: Only if you pursue the work you love. It doesn’t just magically appear on your doorstep (See Myth #6). First you have to identify the work you love, make a plan to get it and then follow the plan diligently over time. Until then, you’ll probably take whatever comes along.

 Plus, there are reasons to take work, even if you don’t love it. “Love” shouldn’t be the main criteria. Your business isn’t there to make you happy.

 Myth #8: You’ll have great clients you love.  Reality: You may have a few clients you love, but no clients are perfect, even ideal clients. There will always be miscommunications and misunderstandings, processes to improve and problems to resolve. If you focus on improving processes with whatever clients you have, you will attract better clients because the “bad” ones will weed themselves out.  Before you get the clients you love, you must first learn how to identify them (what is it about them specifically that makes you love them?) and how to weed out the ones who aren’t right for you. That means paying attention to the red flags you’d rather ignore (like the refusal to pay a deposit) because you want the project or you need the money.

 Myth 9: The “business part” is boring and difficult.  Reality: The “business part” (dealing with money, business development and managing other people, even if those people are your clients) will be challenging and, yes, sometimes boring. If you’re in business to have fun, your success is not assured. But if you rise to the occasion, whatever you find difficult will certainly make you better at business.

 Myth #10: You have to be a “business person” to be successful.  Reality: There is no such thing as a “business person,” and labeling yourself that way can be a huge obstacle to success. There are, however, business tasks and activities, business behaviors and skills, all of which you can learn. Then you are free to practice them to your heart’s content. You are free to choose whether or not to do them or learn them.

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Part 2: The 12 Skills Required to be a Successful Freelancer  We’ve identified 12 important skills and personality traits that you need to run a healthy and successful freelancing practice. There are certainly more, but this will get you started:

 1. Curiosity. Many solopreneurs consider themselves to be introverted or shy. You just want

to do your work, right? You don’t want to promote it, and sometimes you don’t even want to deal with your paying clients. If you are curious, you know that any interaction with a client and/or prospect is an opportunity to learn more about what they need and how you can help them. If you’re not curious, you may be certain. In fact, certainty may be running your life and you may not even notice it, that’s how subtle it can be.

 Here’s one way to tell: When you think about reaching out to a new prospect, is your first thought, “They probably don’t need someone like me,” or is it, “I wonder what they need.” Certainty is imagining you know things you couldn’t possibly know, like what your prospects need or want before talking to them. That will keep your world (and your business) narrow. As a freelancer, the more curious you are, the wider your network will be and the greater your potential for growth. That type of curiosity is worth developing.

 2. Self-Discipline. For both new freelancers and veterans, self discipline can be a challenge.

It’s up to you to determine what needs to be done and then to do it. This covers everything from getting up at the same time every day (no matter how you feel) to meeting project deadlines. You may think you’re accountable to your clients and, to a certain extent, you are. But as a freelancer, you are mostly accountable to yourself and the strength must come from within. If you don’t have that in place, you will need to establish that foundation, which takes practice, especially if you’re accustomed to having a boss.

 3. Professionalism. A reputation of flakiness precedes most creatives. So you have to work

against that preconception, sometimes even going overboard, by being more buttoned up than you might be underneath it all, to override that impression. This can even include dressing for work. Not that there’s anything wrong with working in your pajamas (you’re free to do that). But getting dressed to work can have a psychological effect on you; it is often more conducive to being productive.

 4. Organizational skills. Success doesn’t spring from chaos. With piles of paper on your

desk and your inbox overflowing with email, you won’t get far. Important information or requests from prospects may need your attention, but if you’re not organized, you’ll miss opportunities without even knowing it! Order is essential and it’s a skill you can learn, but it requires discipline.

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5. Commitment. If you’re a new freelancer, you may not be ready to commit 100% to running a business but you must be committed to giving it a try, even as it changes and evolves. Clients and prospects can tell if you’re not committed. If you are committed, you return calls and emails in a timely manner, you meet deadlines (or communicate clearly when you can’t), and you bill your clients right away.

 6. Self Awareness: Being self employed is one of the best ways to learn about yourself and

it is an ongoing learning a process; at least it can be, if you are curious. Every day is different. You get to see how you respond in all sorts of situations. You learn what types of people push buttons and trigger unproductive behaviors in you. From there, you can practice others and, ideally, make improvements. Your own business is a laboratory for your personal growth, and your clients are an ongoing flow of people to experiment with (not on), always knowing that you’ll do better next time.

 7. Self Confidence: “I don’t have the confidence to do that,” is a common (and accepted)

excuse for inaction. But self confidence isn’t a “thing” you have or don’t have. And it is not a prerequisite for action. It’s a byproduct of action, and it develops through practice – practice running a business, marketing, negotiating and everything else. The only way to develop the confidence is by doing, by experimenting, by trying something out.

 8. Patience. It’s a muscle, a weak one in many people, completely hidden in others but well

worth strengthening because, as the saying goes, “Good things come to those who wait.” And there’s a lot to wait for: your efforts to take hold, for prospects to respond, and for people to be ready (i.e. in their moment of need). Because even if they love your work and want to work with you, timing is essential. You have to wait for the right time, which requires patience.

 9. Flexibility. Especially now, when no one knows what will happen next, we must all be

flexible. Freelancers are actually in the best position to be flexible. You must be ready to adapt: your services, your prices, how you package your offerings. You must listen closely to hear what the market needs, then turn on a dime and offer it, even if it’s something you never thought you would offer.

 10. Perseverance. Built on commitment, invigorated by confidence and made possible by

patience, perseverance will allow you to bypass everyone who isn’t committed, confident or patient. People take you seriously if they realize you are serious, that you’re not going away. Perseverance builds trust, an essential element of every successful business. But by staying in touch and continuing to reach out, you send a message that says “I am reliable. I am consistent. You can depend on me.”

 11. Strong communication skills. You can’t control how someone receives your

“communications,” but you certainly can control what and how you communicate, whether verbally or written. If you haven’t thought through what you want to say, you

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© Ilise Benun, Marketing Mentor  

may say the wrong thing or, at best, something unclear that can be easily misconstrued. This happens often via email, which people read fast and/or simply skim. Communicating clearly may mean sending the same message through various media to be sure it came through clearly. A verbal exchange (talking) is the best way to do this. It doesn’t always avoid the problem, but it comes closest.

 12. Dealing with change. Nobody seems to like change, whether it’s changing an

appointment, changing the scope of work on a project or changing vendors altogether. Change often creates anxiety, yours and theirs. So how you deal with change – changes you make and changes that happen to you -- is an important but often overlooked aspect of success. That’s why flexibility is essential; it allows you to adapt to change. You can learn through practice how to respond without (or at least with less) emotion, less attachment and with more curiosity

 

     

Part 3: The Rewards of Freelancing  As you work on developing these 12 skills and personality traits, you will start to reap the real rewards or “freedoms” that make working for yourself worth the effort it takes to build and sustain a freelance practice:

 a. Freedom to achieve. This goes beyond the “I can do whatever I want” type of freedom.

This is the freedom to create the life you want. To take on more and more responsibility. To rise to the occasion of doing whatever needs to be done, which builds confidence and reinforces commitment.

 b. Freedom to choose: You choose your projects and clients; you choose how you spend

your time (no time-wasting meetings!). In response to the needs of the market, you choose which direction to go, which markets to focus on, how to balance the project load.

 c. Freedom to be creative. In a world of often boring cookie-cutter client work, your own

self promotional campaign can be a very satisfying creative outlet. It’s your chance to be free of the constraints imposed by client work. Although you may find it challenging to create your own marketing materials – whether it’s a web site, brochure or mailing piece -- rarely do you have the opportunity to bring your true creativity into your commercial work. But when it’s for you, there’s no formula to follow, no one controlling the message, no committee of non-creatives second-guessing you, telling you it’s too edgy or too loud. You can be as humorous, as silly, as colorful (or as dark) as you want – as long as it is appropriate for your market. (Remember, it’s a marketing piece, so one of the goals is to convey the message, “We can help you.”)

CreativeFreelancerConference.com

© Ilise Benun, Marketing Mentor  

d. Freedom to associate. When you have only 1 or 2 clients, you are not choosing them. You need them. You are at their mercy. But when you have a pipeline of prospects waiting in line to work with you, you get to choose.

 e. Freedom to find meaning. More than anything, being self employed is one of the best

ways to do work you love and find meaningful. That isn’t to say everything will fit that description. There will always be bread and butter work, but that gives you time to focus on what you love.

 The single most important thing you can do today to secure your financial future is to build a freelance practice on the foundation of a skill or talent you have. And the Creative Freelancer Conference in San Diego will help you do that. You can look forward to meeting hundreds of other creatives facing the same challenges and you will help each other overcome them. We look forward to seeing you there.

             

Ilise Benun, a national speaker and co-founder of Marketing Mentor, works closely with creative

professionals who are serious about growing their business. She is also the author of several books

including, “The Designer’s Guide to Marketing and Pricing” (HOW Design Books, 2008), “Stop Pushing

Me Around: A Workplace Guide for the Timid, Shy and Less Assertive” (Career Press, 2006), "Public

Relations for Dummies (2nd Edition)" (Wiley, 2006) and “The Art of Self Promotion. She has been

featured in national media outlets such as BusinessWeek.com, The New York Times, The Washington Post,

The Guardian (UK), Toronto Globe and Mail (Canada), Inc. Magazine, Essence, Working Woman and

many more. More info about mentoring here at www.marketing-mentor.com and sign up for her free

Quick Tips from Marketing Mentor here: www.marketing-mentortips.com

2015 © Marketing-Mentor.com

[Worksheet] Who is in Your Network? How many people do you know? How many people know you? Probably more than you think. Most people do not realize how wide their network already is. So on this worksheet (or on a sheet of paper), list as many people as you can in each category. And if I’ve missed categories, add them yourself. Professional Present & former co-workers (managers, direct reports, assistants) Professional colleagues Acquaintances from professional/trade associations Former professors, Ex-college roommates & alumni Lawyer Accountant Doctor Dentist Banker Barber/hair-dresser, Dry cleaner, Shoemaker, etc. Personal Friends & neighbors Parents & parents’ friends Children, spouse & their friends Aunts, uncles & cousins In-laws & former in-laws Clergy, Faith community leaders & members Social acquaintances (via volunteer or community activities, health club) Local elected officials and community leaders Librarians Teachers and coaches, Teammates and classmates Club members Your Network Based on the article, The Four Types of People You Need in Your Network, for each of the 4 categories, write down who you can call on to help you. That will make it easier to see where you need to build up your network.

1. Clients/Customers 2. Peers/Colleagues 3. Mentors/People You Can Learn From 4. Referral Sources

Excerpted from “It’s Who You Know” Networking Bundle. Find it in the Marketing Mentor Online Shop.

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[Article] Email Newsletter or Blog? Blogs and email newsletters are both excellent marketing tools for creative professionals. They give you two inexpensive ways to communicate with your customers, give them useful advice, and reveal your latest products and services. But though they have the same purpose, they are very different. First, let’s define our terms. A blog is a website that you can create yourself using Web-based software. Blogs tend to have a personal flavor and speak in the distinct voice of the blogger. A typical blog combines text, images, and links to other blogs, Web pages, and other media related to its topic. Unlike a traditional, static website, the content or information posted on a blog is up-to-the-minute, frequently updated (although it doesn’t have to be), and displayed in reverse chronological order, the most recent posting first. Also, readers can contribute their comments, turning the blog into an online conversation. An email newsletter is a message that you send out regularly via e-mail to a list of people who have given you permission to do so. The content of an email newsletter is more evergreen. It can be anything from news about you and your business to tips that demonstrate your expertise. When you use an e-mail marketing service or software, it’s also very easy to design and send. The main difference between the two is this: You “push” an email newsletter to your list so you control the contact, while a blog is a “pull.” Readers have to go there on their own, so you have a lot less (or no) control over the contact. The quality of the readers is different too. Email newsletter readers went out of their way to sign up, so you can consider them A leads for your marketing messages. They’ve essentially raised their hands and asked you to keep in touch. Blog readers, on the other hand, are information hounds, so they may not be as responsive. Let’s compare.

A blog is easier to set up – but not by much. It literally takes 10 minutes to create, and you don’t need any technical expertise. However, you have less freedom with the layout due to the limitations of most blog publishing software (especially the most popular and free ones, like blogger.com and typepad.com). With an email newsletter, on the other hand, it takes a bit more time to create the prototype and template, whether in text or html. But once that’s done, you just type the text for each issue into that template and send it out.

It takes more time to write an email newsletter. Most creative professionals take time to write and edit their email newsletters, as they should. Because you’re pushing your email newsletter to people, asking them to read what you’ve written, it has to be well thought out, concise, and to the point. On the other hand, since a blog tends to be made

2015 © Marketing-Mentor.com

up of snippets of ideas posted frequently (sometimes several times a day), bloggers don’t labor over their text. Plus, a blog is less formal, because it’s like a conversation. That means, “you can speak in your everyday voice, which is (hopefully) friendly and approachable.” So says Colleen Wainwright, a blogger who blogs as The Communicatrix. “On a blog, the expectations are much lower for both grammar and formality. Also, you can combine personal and professional elements in your blog; how much of each depends on what you’re comfortable with and what your prospective clientele will be comfortable reading. You can write about anything (and many people do), but if you’re using it to promote your business, it will be most effective if you focus and use the blog to establish your credibility within that narrow niche.” My email newsletter goes out weekly, and between the writing, editing, and layout, I spend approximately one hour on each issue. My blogging takes a half-hour on a Sunday morning. That’s when I draft and schedule my three posts for the week. Each one is usually no longer than a paragraph or two with a couple of links. At least one post is simply a link to an article I like, plus a little intro from me about why I think it’s relevant. If your email newsletter goes out more frequently the time you spend on it expands by leaps and bounds.

It takes more time to maintain a blog. For most people, creating fresh content several times a week, or even weekly, requires a certain mindset. It isn’t even that it takes so much time to create the material. (Blog posts are mostly very short pieces accompanied by a link.) What takes time is getting into the groove of blogging – and that involves much more than posting to your own blog. It includes visiting other people’s blogs, reading their posts, and commenting on them. It’s not difficult. It just takes time and practice to get into that mode. Email newsletters, on the other hand, don’t carry the same expectation of freshness, so there is a lot less pressure to produce. You send it out when you like – daily, twice weekly, monthly, or even occasionally.

A blog attracts more Web traffic. Even if no one ever reads your blog, posting to it regularly can be a tremendous boon to your search engine rankings because search engines love fresh content. Any website with new content will come up earlier in search engine rankings than a site that hasn’t been changed in months (or years). Meanwhile, the traffic an email newsletter drives to your website consists of those who already know you, not new prospects and leads.

An email newsletter makes more sales. Some people make money by displaying ads on their blogs – but if you want to sell products or services, an email newsletter is more effective. Why? Because with an email newsletter you “push” (send) your offer to your prospects, then watch while they click and, hopefully, buy. Because a blog is a “pull,” there’s no way to measure or track sales. On a blog, you show how much you know. You shouldn’t expect to “get work” from your blog, but it will be good for driving traffic to

2015 © Marketing-Mentor.com

your website. And once you get people to your website, they can sign up for your email newsletter… which will allow you to sell to them directly.

Both inspire trust in the visitor. Inspiring trust depends more on the tone you take than the format. If you’ve spent time composing your email newsletter, it will show, and that certainly inspires trust. A blog, with its rapid-fire and often impassioned comments, can convey a sense of impulsiveness, which rarely inspires trust. Trust is important on the Internet (a very anonymous medium), because unless people trust you, they’re not going to buy from you. If you don’t already have a website to promote your business, a blog is a good first step in that direction. It provides a way for people to find you online without your spending a lot of money or time working with a Web designer or learning Web design software. In fact, some people use a blog as their one and only Web presence. If you already have a website and are ready to branch out with an email newsletter or a blog, which one should you start with? That depends on your goal. If your goal is to generate revenue from a known group of prospects, an email newsletter is the right choice. If you are less focused on revenue-generation and are looking instead to position yourself as an expert and make it easier for new prospects to find you online, a blog is better. If both goals make sense in your business plan, by all means do both. Blogs and email newsletters work beautifully hand-in-hand. Here’s What We Do At Marketing Mentor, I want to be able to reach out to my qualified prospects on a regular basis, to keep reminding them who I am and what I have to offer. I don’t want to wait for them to come back to my website or have time to read my blog. I want to be in their inboxes, rather than on their browsers. So we have a static website (http://www.marketing-mentor.com) with content that doesn’t change very often, an e-mail newsletter, Quick Tips from Marketing Mentor, that we send out to a list of 12,000 creative professionals every other week, plus a blog (http://www.marketingmixblog.com) where we post ideas and tidbits at least three times a week. We use the newsletter to drive traffic to the blog and the website, while the blog also gets our search engine rankings up. People who find the blog are encouraged to sign up for the e-mail newsletter, so we can stay in touch with them and nurture those relationships. We also use the e-mail newsletter to sell marketing tools in the Marketing Mentor Online Shop. That would never work on the blog. People need to be motivated to buy from you, and the best way to motivate them is by landing in their inboxes. If the copy is compelling and the timing is right, a sale is just a click away.

ESSENTIAL QUESTION: Who do you want to work with?

ESSENTIAL QUESTION: What is your offer?

GOAL: GOAL:

GOAL: GOAL:

GOAL: GOAL:

ESSENTIAL QUESTION: What do your prospects need to know?

ESSENTIAL QUESTION: Who haven't you been in touch with?

ESSENTIAL QUESTION: What can you add to your website?

ESSENTIAL QUESTION: What do you need to do to take care of yourself?

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2015 Master WEEKLY MARKETING CHECKLIST

for Creative ProfessionalsCompanion to The Creative Professional's Marketing Plan + Calendar

Designed by

Week of: ______________________

Battling big egos and unfair deadlines? You’re not alone.For small agencies and solopreneurs especially, one bad client can mean big problems, draining your resources and even harming your carefully built culture. This cheat sheet will help you spot the 4 red flags you should be watching for, plus 3 actions you can take for each.

We all have problem clients, but some of us have more than others. And often, we also play a role in creating the problems. So no matter where you and your clients are on the spectrum, here are some tips for dealing with them.

First, distinguish between bad clients (the ones Rick Webb called “sociopathically grumpy people”) and clients simply behaving badly.

You will, of course, steer clear of those abusive, mean and dysfunctional people who drain your resources, destroy the culture you work in and cost more in problems than what they pay in fees. You know who they are.

For the rest—clients behaving badly—know that it’s often due to factors they can’t control.

cheat sheetfor Dealing with Problem Clients

(Based on Ilise Benun’s presentation at the Ad Age’s 2014 Small

Agency Conference)

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If you are serious about growing your creative business and want guidance and accountability, take advantage of the FREE mentoring

session with Ilise Benun. Fill out the form here: www.marketing-mentor.com

The essence of this presentation distilled into a tweet by John Ellett, CEO of award-winning agency, nFusion:

“Antidote for cluelessness—education; “no budget”—explanation; chaos—structure; disrespect—empathy.”

@nfusion

Watc� for:• Last minute requests with

unreasonable deadlines.

• Sloppy communication and confl icting messages from different people on a project.

• Prospects or clients whovanish in the middle of aproject or negotiation.

Why:• They have a chaotic corporate

culture and your contact is doing their best, to little avail!

• They have no self discipline and are in reaction mode at all times.

• No one (including you) has called them on this bad behavior so they have no reason to change.

What t� d�:1. Give them structure, timeframes,

deadlines and consequences.

2. Have a process and enforce it. They will respect you and they might even relax a bit.

3. Accommodate when possible, but don’t be a doormat. Say, “Yes, but….”

Red Fla� #1: Cha�

Red Fla� #2: N� Budget

Watc� for:• “We have no budget” = “We have

no idea what this should cost.”

• “We have no budget” = “We know it costs money but we don’t have it now. We will have future projects though.”

• “We have no budget” = “We won’t tell you our budget.”

Why:• “We have no idea what it should

cost.” = They don’t understand what’s involved and can’t justify the price—to themselves or their superiors.

• “We don’t have the budget this time.” = They’re under pressure to do more with less.

• “They won’t tell you” = They don’t trust that you’ll quote a fair price based on their budget.

What t� d�:1. Demonstrate the complexity of

what’s involved through your marketing, in your proposal and especially during your pitch.

2. Don’t just drop the price. Adjust the scope of work to the budget they have.

3. Once you’re involved, lobby for “extra budget”—there’s usually money that can be moved around or “reallocated.”

Fi nd us: Marketing-Mentor.com + @MMToolbox Page 2

Watc� for:• A young “marketing coordinator”

who doesn’t have the experience to understand what what’s required.

• An older marketing director who is burnt out and hasn’t kept up with the modern marketing world.

• A new marketing director who suddenly has marketing responsibilities but knows next to nothing about marketing.

Why:• The workforce is getting younger

and younger.

• Older workers can’t afford to retire but don’t want to be working.

• Experienced people are being laid off and not replaced.

What t� d�:1. Gently insist that decision-

makers be involved, especially in the fi rst meeting to set strategy.

2. Make them your best friend, especially the young ones, who will bring you as they climb the ladder.

3. Educate them. Share whatyou know.

Red Fla� #3: Cluelessness

Watc� for:• Unresponsiveness: Ignoring your

calls and emails unless they need something from you.

• Pushing to see how far you’ll go.

• Treating you and your employees like a pair of hands.

Why:• They lack the power to make the

decisions or don’t know what to do.

• They are the victim of offi ce politics and other job frustrations.

• You are getting the brunt of personal problems.

What t� d�:1. Don’t take it personally—no

matter what, it has nothing to do with you.

2. Don’t react emotionally. Respond with, “I’ll get back to you about that.”

3. Don’t jump to conclusions—easier said than done! Step into their shoes and imagine what could be happening on their end.

Red Fla� #4: Disrespect

The UpshotWatch for these red fl ags—chaos, no budget, cluelessness and disrespect—so you can assess whether you should take on or politely decline or each new prospect.

Have a special situation you need help with? Need help with your own marketing?Take advantage of the complimentary 30-minute chat with Ilise Benun. Sign up here.

Fi nd us: Marketing-Mentor.com + @MMToolbox Page 3

2015 © Marketing-Mentor.com

The Locate Your Market Worksheet by Ilise Benun of Marketing-Mentor-Toolbox.com

For each target market you’re interested in, look for all the resources at your disposal to access that market. You’ll be amazed at how much information is there for the taking. If you start to feel overwhelmed by all the information you find, take a break. If there’s not much to work with, this may not be a viable market for you. This worksheet can be a sort of container for you. Or try using a Pinterest board to collect the information.

Your name: Target market:

1. What groups do they belong to? List links to all trade groups and associations for your market:

For each group, see if you can find each element and paste the link:

a. Events to attend:

b. Directory of members:

c. Places to list your services (marketplace, vendor directory):

d. Places to be published (newsletter, magazine, blog):

e. Links to more resources:

2. Where do they go?

a. Trade shows:

b. Conferences and Forums:

c. Workshops and Seminars:

d. Networking events:

e. Meet ups (meetup.com):

2015 © Marketing-Mentor.com

3. What do they read?

a. Magazines:

b. Newsletters:

c. Web sites and blogs:

d. Twitter feeds (twitterers):

e. LinkedIn Groups:

f. Pinterest boards:

g. What else?:

4. What lists are they on?

a. Directories of members:

b. Attendee lists (on web sites?):

c. Forums and listservs:

d. What else?:

5. What else did you find that doesn’t fit these categories?

2015 © Marketing-Mentor.com

[Link] Ed Gandia’s Cheat Sheet:

7 Proven Steps to Generating a Steady Stream of Hot Leads with Short and Simple Prospecting Emails Download it here: http://smarterfreelancing.com/ilisepdf

w w w. h o w d e s i g n . c o m HOW • 32 • september 2012 w w w. h o w d e s i g n . c o m

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The secret to closing a deal with new clients is ushering them through a step-by-step qualifying process that weeds out the tire-kickers. Follow this tried-and-true formula to find the clients you really want to work with. b y i l i s e b e n u n5steps to

finding the right clients

w w w. h o w d e s i g n . c o m HOW • 5

If there is a secret to closing, it’s that you can’t close someone who isn’t closeable.

That’s why it’s essential to qualify your prospects first, so you only spend your time on the ones who are most likely to actually become clients. This article will present a step-by-step process for qualifying prospects so that your closing rate is higher and you don’t waste time on tire-kickers.

Many creatives shrink away from selling—of which closing is the most important aspect—for fear of being perceived as a salesperson or slimy (or both). But if you think about it, all creative entrepreneurs, solopreneurs or self-employed freelancers are commission-only sales-people—you don’t make a dime until you close the sale—and can therefore barely afford to avoid selling. It’s best to learn to do it in your own style.

The idea of qualifying—deciding if a prospect is good enough for you—may be a foreign concept if you’re in the habit of taking whatever work comes along and/or blindly assuming that every prospect is a viable one. It’s your job to put your prospects through a process to determine whether they’re quali-fied to work with you, just like they’re doing when they approach you. If you don’t, you’re putting yourself in an extremely vulnerable and desperate position: wait-ing to be chosen.

Qualifying is the process of finding closeable pros-pects and converting them to clients through your strategic marketing process. You’re not necessarily in control, but you’re guiding those prospects through your system from one level to the next, as they become ready to focus on their needs, available to hear more and able to give you increasingly more of their attention.

KnOW WHO’s Qualified In order to be closeable, prospects first have to be “qualified.” This isn’t about who is or isn’t good enough to work with you. It’s not even about who you want to work with. Qualified prospects fit certain objective cri-teria that you set for your business. You use that list of criteria to determine whether a prospect is a good fit so that you can do your best job. Here are some general criteria to serve as a basis to develop your own list:• Mindset: They behave like professional clients, not amateurs (and especially not like children), and they don’t have mental obstacles to working with you because of your location or the size of your business.• Pricing: They’re aware of your pricing, because you’ve told them up front your general price range or they’ve seen it on your website, and they can afford you.• Timing: Both their expectations and timeframe are clear and realistic.• Influence: They’re the decision-maker or have enough influence over the decision-maker.

When you know who you’re looking for, it’s so much easier to recognize them when you see them. (See the Web Extras at the end of this article for sample qualifying materials.)

pre-Qualify tHemOnce you know who you’re looking for, you can use your marketing tools to pre-qualify prospects. The best tool to use is content marketing to draw the right people to your front door, your lead-generating website. This clearly positions your firm and quickly discourages the “wrong” people from knocking, while capturing the quali-fied prospects and ushering them smoothly into your process. If you refuse to use your website this way, you’re destined to deal with unqualified prospects.

Mark O’Brien, author of “A Web Site That Works” and president of Newfangled.com, says “An expertise-based approach to search engine optimization, paired with content strategy, makes your site increasingly effective as a marketing tool. The process goes something like this: You add content to your site that interests your prospects. Google indexes it and brings the right people to your doorstep. Once they arrive, they’re convinced of your expertise through the mass of focused educational content that seems to have been written just for them. They identify your site as an educational resource they need, and they act on a call-to-action form, which is based on your content strategy (e.g., “Sign Up For Our Newsletter”). This strategy works because, by the time the prospect gets in touch with you, they’re already well on their way to making the decision to work with you.” (See O’Brien’s Interactive column on page xx.)

Another effective element of a lead-generating website is a page where visi-tors can get a sense of your general pricing. But there’s an ongoing debate about whether posting your prices publically is a smart business move since it can “scare off” certain prospects and reveal information that you may not want competitors to have. Both of those things are true, but the benefits may outweigh the downsides.

In a LinkedIn discussion on this topic, John Arquette, the vice-president of Delphine, a letterpress invitation and design company based in Charleston, SC, wrote that, “Putting pricing up on our site was the best thing we ever did. It stopped tons of time wasting calls and e-mails about pricing from those who could have weeded themselves out. Higher quality prospects will not be scared away by general information about pricing.”

On the other side of the argument is Jeff Fisher, a veteran logo designer in Portland, OR, who wrote, “My design business has been online since 1998, and from the very beginning I knew that I would never be posting prices online. First of all, the specifics of each project vary so much that generic price posts might just complicate matters and confuse site visitors. Second, posting prices would elimi-nate the opportunity to have a business dialogue with a potential client. Those truly interested in my services contact me via phone or e-mail. ‘Tire kickers’ are quickly weeded out by the initial pricing information I then provide. I have an e-mail that I send out immediately upon getting any request for additional specifics.”

You can hint at your price range or starting point more subtly by offering on your contact form a drop down menu that starts at your minimum. Most (but not all) with budgets smaller than that number will assume they can’t afford you.

Here’s one way to decide what’s best for you: If you need work and want to be able to decide on a case-by-case basis which prospects are qualified, then don’t post pricing. But keep in mind that it relieves you of the right to complain about low-quality prospects. If, on the other hand, you have plenty of work but want higher quality clients, post your fees, especially if they’re on the high side. At that level, your time is more valuable and you simply can’t afford to waste it on those who can’t afford you in the first place.

are yOur clients ‘amateurs’ Or ‘prOfessiOnals’? “Amateur” clients complain more, pay less and take more of your time than “professional” cli-ents. To them, creative services are like fast food. They want the fastest and the cheapest. They don’t plan ahead and tend to have unrealistic expectations. They’ve never worked with some-one like you and don’t know the cost implica-tions. They’re impulsive and disorganized, and their chaos readily infiltrates your interactions. They think they know what they need; your job is to execute what they have in mind. They don’t understand that you could provide a fresh, profes-sional approach. Learn to spot the amateurs a mile away, well before you get involved.

After more than 20 years in business, Jonathan Cleveland of Boston-based Cleveland Design has learned how to spot the unqualified prospects right away. “One big red flag is when they show a sample of a brochure, for example, and ask if we can copy it,” he says. “That demonstrates no awareness of what a designer does.” By contrast, one of the qualifying criteria Cleveland is looking for is a “global marketing mindset,” which means that his most qualified prospects are good partners, forward-thinking and recognize the value of what the designer brings to the table. “You have to listen closely and sometimes read between the lines,” Cleveland says. “Qualified prospects with a global marketing mindset don’t care where you’re located or what size you are. They trust you and they realize that doing busi-ness virtually is the nature of business in the global economy. The ones who think they need a multimillion dollar agency in their backyard will never be convinced otherwise. So if they keep bringing up the issue of location and don’t seem convinced that e-mail and Skype are good enough, or if we need to sit on a couch together to discuss this more than once, then they don’t have a global marketing mindset. With experience, you learn when to let those prospects go.”

4 • september 2012 w w w. h o w d e s i g n . c o m

If there is a secret to closing, it’s that you can’t close someone who isn’t closeable.

many designers claim to have trouble “closing the

sale” and getting the client to sign on the dotted

line. They sometimes even imagine there’s some

secret to closing that they don’t know yet.

Web extras Visit HOW’s website for related information on “Closing The Deal,” including:• sample qualifying criteria• a real-world client proposal• a podcast of Ilise Benun’s interview with Mark O’Brien• an excerpt from “The Creative Professional’s Guide to Money,” by Ilise Benun

HOWdesign.com/HOW-September-2012

USHer THeM THrOUGH YOUr QUALIfYInG GATeWAYThose who make it through your pre-qualifying process usually arrive at your “gateway” by sending an e-mail, filling out your contact form and/or calling you to talk about a specific project. They may ask right away for a proposal or a meeting, but don’t agree to anything without putting them through your qualifying process.

No matter what you call this process—free consul-tation or critique, brainstorming session or preliminary diagnostic—the goal is to assess their qualifications, and that’s best done on the phone or via Skype in real time. Use that time to find out: Do they know what they need? Is their timeframe realistic? Can they afford you? Develop a short list of questions or cheat sheet from the qualifying criteria developed in Step 1.

Once you’ve determined that they may be a good fit, you can even charge a fee for an initial consulta-tion, which is especially effective when the client doesn’t know what they need. You can and should be paid for the strategic thinking that goes into scoping out a project—it’s actually the most valuable service you can provide, especially with crowdsourced design-ers a click away.

Erin Pheil takes the paid initial consultation one step further. Her Frisco, CO-based web design and strategy firm Timeforcake.com offers a “Website Blue-print” which essentially replaces (and improves upon) the proposal process. “The client pays a flat fee, usu-ally under $5,000, to have us do the exploration,” Pheil explains. “We put together a blueprint containing all the information they need to move forward with us or not. The goal is to generate trust during the process so they of course want to go with us. But even if they hire someone else to complete the project, we get paid well for our work, and our clients get a tremendous value. Plus, they don’t have to take a huge plunge and commit to working with a company they’re not familiar with on a project that hasn’t been scoped.”

assess tHeir readinessOnce you’ve identified the prospects who are quali-fied to work with you, the next step is to determine whether they’re ready to be closed.

Often, it’s unmistakable: Their need suddenly becomes urgent, which isn’t always a good thing for the project, but that seems to be the reality of how business is done these days.

Other times, it’s not always easy to tell if they’re ready. Be sensitive to the signals without making assumptions about what they mean. For example, you may assume that because they were really excited in the meeting, they will be a cinch to close. (Maybe they’re that way with everyone.) Or you may assume that because they haven’t yet responded about your proposal, they must have chosen someone else. (Maybe the project got put on hold.)

Don’t judge lack of responsiveness as a lack of inter-est; it might just be unreadiness. In fact, one of the traps many creatives fall into is mistaking excitement or enthusiasm for readiness. There are so many reasons a prospect might be excited. They may want very much to work with you without realizing they can’t afford you—another reason it’s essential to talk about money early. Or they may not know how to say “no.”

Cordelia Norris, a graphic design freelancer in Knoxville, TN, has a lot of experience with excited prospects who never convert into actual clients. “Ah yes. In my experience, they’re typically small business owners who have little experience working with a professional designer,” she says. “They love the idea of design and are very social, but are ultimately commit-ment-phobic and can waste a lot of your time. I’m still learning how to spot the enthusiastic prospect. I think that letting people know that you’re really busy and not cheap may help.”

To gauge actual readiness, it helps to have objective qualifying criteria as in Step 1. Prospects are likely to be ready if:• They’re open to continuing the conversation and readily take your calls (mindset).• You’ve talked price and agreed to a budget (pricing). • Their need is imminent and they have a realistic deadline in mind (timing).• They’re the decision-maker or have enough influence over the decision-maker (influence).

Go through this checklist with each prospect. And if they’re not ready, don’t be discouraged. Just get them in your marketing system. Send them your e-mail newsletter. Connect with them on LinkedIn. Follow them on Twitter and, when appropriate, friend them on Facebook. This will automate the process of stay-ing in touch and keep you on their radar until they are ready—which could be months or, sometimes, years.

clOse tHe deal On tHOse WHO are clOseableAfter all this qualifying—which is very labor-intensive but worth every minute—you’ll end up with a batch of high-quality prospects who are ready or almost ready to be closed. This is what you want! What can you do to close the deal?

Let’s apply the same criterion categories to you:• Mindset: Don’t be cocky and don’t count your chickens before they hatch. The best attitude to have is, “We’ve got plenty of irons in the fire. This would be good to get, but we don’t need it. We’ll do everything we can, but if it falls through, there will be opportunities in the future.” Then focus your attention on someone else.• Pricing: Make it clear that you’re ready to negotiate if necessary, but keep despera-tion out of it and don’t volunteer any discounts.• Timing: Give them a deadline to nudge them toward a decision. Say, “We can hold time for you in our production schedule if you sign the contract before the end of the month. But next month is looking very busy.” Provide a process for moving forward with language like, “Here’s what’s next if you decide to move forward.” This shows your professionalism.• Influence: Continue to exert your influence and remember that the ball is always in your court. Keep looking for ways to demonstrate your enthusiasm and competence.

So you see that, in fact, there’s no secret to any of this marketing stuff. It’s really a question of focus, hard work, persistence and effort, every single day. And you’ll know it’s working when you no longer say, “All I get are tire-kickers” or “I can’t seem to close enough clients” or, the most common, “I need prospects/clients with better budgets.”

Ilise Benun is a national speaker and co-founder of Marketing Mentor and the Creative Freelancer Conference (www.creativefreelancerconference.com). She works closely with creative professionals who are serious about growing their busi-ness. Her most recent business tools for creative professionals include The Pro-posal Bundle (with 11 actual proposals to use as models) and The Pricing Bundle, as well as seven traditional books (visit MyDesignShop.com). Sign up for her free Quick Tips from Marketing Mentor at www.marketing-mentortips.com

JOHn ArQUeTTe Johns island, sc www.delphinepress.com

JOnATHAn CLeVeLAnD BosTon Jonathan cleveland www.clevelanddesign.com

Jeff fISHer PorTland, or www.jfisherlogomotives.com

cOrdelia nOrris knoxville, Tn www.lunacreates.com

marK O’brien carrBoro, nc www.newfangled.com

erin pHeil Frisco, co www.timeforcake.com

large numbers set in Pompadour by lOst type cO - Op www.losttype.com

pre-prOpOsal QUeSTIOnS CHeCkLIST: WHat yOu need befOre yOu WriteOnce you’ve qualified the prospect and decided it’s a good fit for both of you, you’re ready to agree to write a proposal. Adapt this checklist of questions (excerpted from “The Designer’s Proposal Bundle;” MyDesignShop.com) for your gateway process:

What is your budget?

What is the timeframe?

What are the big-picture goals of this project?

What is the specific objective you need to achieve?

How will you measure the success of this project?

What/who is the market for this project?

Who is the main decision-maker on this project?

What models are you using for this project?

Where is the source content coming from?

How much research will be necessary?

Are there specific technologies you do or do not want used?

How does this project fit into your big picture?

Have you ever done something like this before? If so, what?

w w w. h o w d e s i g n . c o m HOW • 7

You don’t make a dime until you close the sale — and can therefore barely afford to avoid selling.

6 • september 2012 w w w. h o w d e s i g n . c o m

2015 © Marketing-Mentor.com

[Links] Recommended Links for Pricing For Simple Time Tracking: http://www.FunctionFox.com For Simple Invoicing: http://www.FreshBooks.com

Find the Pinterest Board with Pricing Resources here: http://www.pinterest.com/ilisebenun/pricing-for-creative-professionals/

OVERHEAD WORKSHEETAUTOFuel

Insurance/Registration

Car Payment/Lease

Parking

Repairs/Maintenance

Other Transportation Costs

Subtotal

INSURANCEHealth And Dental

Liability

Worker’s Comp

Subtotal

OFFICE EXPENSESInternet

Phone

Mobile Phone

Webhosting

Rent

Utilities

Supplies

Equipment

Software

Subtotal

TRAVELHotels

Airfare

Rental Cars

Subtotal

MARKETINGEmail Marketing

Postage

Printing

Client Dining

Client Gifts

Copywriting

Subtotal

PROFESSIONAL FEESAccounting

Lawyer/Legal Fees

Bookkeeping

Subtotal

EMPLOYEESSalaries

Medical Benefits

Taxes

Other Employee Costs

Subtotal

OTHER EXPENSES__________________________

__________________________

__________________________

__________________________

__________________________

Subtotal

TOTAL OVERHEAD

Calculate what it takes to run your business each year

Add all subtotalsForm design and scripting courtesy of theexceptionalcreative.com and betterwearahat.com

FIND YOUR HOURLY RATE Calculate what you need to charge to stay in business

1 Target Salary

2 Estimated Taxes (30% of number from above)

3 Total Salary (Line 1 + Line 2)

4 Estimated Hours (Full time: 52 wks x 40hrs/wk = 2080 hours)

Now that you’ve figured out what your base costs are per year, you need to determine the yearly profit you’ll need to pay for it. To do this, estimate the number of hours you’ll work. In an ideal world, you’d work 40 hours a week and bill for all 40 hours. Realistically, no one works this many hours per year, and many hours that are worked are not billable, so deduct the following:

A Vacation (Example: 2weeks x 40hours/wk = 80)

B Sick (Example: 8days x 8hours/day = 64)

C Holidays (Example: 10 Days x 8hours/day = 80)

D Pitching/Networking (Example: 48 weeks x 7 hours/wk = 336)

E Business Management (Example: 48 weeks x 2 hours/wk = 96)

F Administrative/Other (Example: 48 weeks x 7 hours/wk = 336)

5 Total billable hours (Line 4 minus Lines A, B, C, D E and F)

On average your billable time will be 50-75% of your hours worked.

6 Hourly Salary Rate (Line 3 ÷ by Line 5)

(Example: $40,000 in Salary ÷ 1,184 hours = $33.78/hour. Note: Every 10K in cost = $10 hourly)

7 Overhead Cost per Hour (Total from Overhead Worksheet ÷ Line 5)

8 Salary + Overhead Rates (Line 6 + Line 7)

9 Profit (Line 8 x 10%)

YOUR HOURLY RATE (Line 8 + Line 9)

Form design and scripting courtesy of theexceptionalcreative.com and betterwearahat.com

Emily Hammond Design

HELLOAUGUST 17, 2014 | PROPOSAL FOR XXXXXX CLIENT NAME AND ADDRESS

LET’S GET THIS PARTY STARTED! Erro ditae exera nis voluptate por aligniendunt di conemquam escipsandent poriate net harcipsae est, tem et inti-unt.Obit quam laut alit aut quias aut venimus accae conemporum quundipis dis exped quia perori alis ab idem-por sitatione con poriti odiat adiatis eos ipsam adita volorporio eosam quaeptibus dolorro torporemolum exces ium natem rem que pra exerroviduci ducipsam, sum rem faceatust quis dolorum nullaccum nobit que Reribus sita nossitae lauditat aut idebisiti que dolor aut quam id magnis elit am quas minus am evellor estibus, si cus simi, si dolesto reictur ectae. Totaspe rorest iminulpa assin eum volorum dit voluptate plabo. Mus millutem iditam voluptate venis autemqu ateniminvel moloreicimpe sim auditat reruntem fuga. Et ra volore laut pra STRATEGY doluptatia adigent verspidest aspidip ienisti busant volloribus, sum late il magnimusam sequatiis porpo quapereri ut aliquis providuciis pra debis qui commolupta num voluptat etus assint quist doluptae. dipsunt, ommolup itatatem aut etum ut molupta tenditaecus nam, conessi moluptat velestrum si conseque restia si nisit qui ate officiae netum rem ut por maximus et quis iuntiae et ut voluptati ut unt, sit eniatem ab inven di tatio. Nem qui dolore assunt officillatum fuga. Omnihil lacepud igendam iuntisto duntion sedipsa volupt a tiusandae num es ate core, corepro odit ium lignatiis autem faccum reptaturio et vellora tendes sim et Quiatiurit prat labo. Nequi culloratis nonseque evenim apelect issedi vent, evel et magnam, quodi cum alis quam, volor sim endisti odis moluptat dentor reiur sim eium et pre vent ipis consectaepe laut optatem faceatur sanis vel moluptatur aliquis dunt ut molor atem quunt, coruptas di dendi beaquodi quianducim rem quassitiis quo tempores ere optat qui dercitam fugit quia duciaecepro essectasit laborpo remodit et omni accus es atur?

Hendi ium explia delestias everciti quam sinis si velist re dolupti volorrum et latin perum conest eici aciente voluptatur, soluptatur, cus este dit, sunt. Thank you for this opportunity and we look forward to working with you!

Best,

Emily Hammond Head Designer, Emily Hammond Design

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TABLE OF CONTENTS

ABOUT YOU project background project goals YOU + US project recommendations project schedule overview of costs and fees ABOUT US who we are// what we can do for you the team client list case studies references IN WRITING terms and conditions signatures

1 2 3 4 5-6 7 8 9 10-11 12 13-15 16

Emily Hammond Design

PROJECT BACKGROUND

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Emily Hammond Design 1

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Emily Hammond Design 2

PROJECT GOALS

GOAL 1: XXXXXXXX XXXX XXXXXXX Brief Explanation ullorest, quist, qui int, aut at eserovit maximus.Ma est videlli tionsequae voluptibus rerepellest estotas quat unt qui dic totae rendelit quiam, vere, quas autem. Hic tenditiis apedignam nostior sitio ium veni aliatios si aut optae presendusam quat oditate mporere conse mi, imaio eossi doluptio eos doluptatqui blaborro molore quiberiti inverei ciusam fugit optate pos aut asd sfli inter slis alskd uasi ahsa optate eossi

GOAL 3: XXXXXXXX XXXX XXXXXXX Brief Explanation ullorest, quist, qui int, aut at eserovit maximus.Ma est videlli tionsequae voluptibus rerepellest estotas quat unt qui dic totae rendelit quiam, vere, quas autem. Hic tenditiis apedignam nostior sitio ium veni aliatios si aut optae presendusam quat oditate mporere conse mi, imaio eossi doluptio eos doluptatqui blaborro molore quiberiti inverei ciusam fugit optate pos aut asd sfli inter slis alskd uasi ahsa optate eossi

GOAL 2: XXXXXXXX XXXX XXXXXXX Brief Explanation ullorest, quist, qui int, aut at eserovit maximus.Ma est videlli tionsequae voluptibus rerepellest estotas quat unt qui dic totae rendelit quiam, vere, quas autem. Hic tenditiis apedignam nostior sitio ium veni aliatios si aut optae presendusam quat oditate mporere conse mi, imaio eossi doluptio eos doluptatqui blaborro molore quiberiti inverei ciusam fugit optate pos aut asd sfli inter slis alskd uasi ahsa optate eossi

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Emily Hammond Design 3

PROJECT RECOMMENDATIONS

To meet the goals outlined by XXXXX we believe quiberiti inverei ciusam fugit optate pos aut aut od magnis rerum qui voluptatur as vereptas atem volupta temquis aute minis eumquam od quid earchil elit reptate mporibea veribus, ute exceatur aut officia quibusti duci inullecus molorehendis quo blaudi derchit ionsequas rem quis il millest et quidemp orepel endi temperchil iducit acea volores ciendi dolum volupta tuscient ut harchilis inum evellab il et ut Ex endellabor aut fugitatiore is sus entist, sam hilitas inctati orporum sam, qui dolorem erumquisque nemodi ommolorem quundiani vendici pictur aliam eation plita apissum, te. Fic testem accuptatur sinum voluptatinim quo omnimagnate consequi offici dolorest, culparc hicidebit quo evel in reseration cum eatur si blantio quiae pore num utempercit que nem reium et quae officia doloris estrum quam, omnihitis es id quibus, qui debita voluptat volupta tetu. Tem quunt et labor aut ab il mod evelit ut ut omnimagnimi, ut officip iendit eariore voluptur sus, officia prepedio es acearum est, senis voluptatur aute velique si omnihit, quianda eratios aut et ea nisto occum esed mo officatem velictatus santotatem autempo rruptatistio blabo. Ipiciis doluptam, et poreiurerios et laccullab ipsam, corro optasinulpa denihit ationse quiata-tium voluptat facesti buscitatur molutem ipsanda ndantotae. Vides rendi commolorum audias porpor aut voluptur, solendae nobisque pore cum impore dit quassin comnient faccupt atecte doluptatias

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Emily Hammond Design 4

PROJECT SCHEDULE

PHASE 1: XXXXXXXX XXXX XXXXXXX

Project Launch Begin work on layout with client

Logos/photos delivered to Emily Hammond Design Creative brief to client

Layout completed

PHASE 2: XXXXXXXX XXXX XXXXXXX

XXX XXXX XXXX XXX XXXX XXXX XXXX

XXX XXXX XXXX XXX XXXX XXXX XXXXXX

XXX XXXX XXXX XXX XXXX XXXX

PHASE 3: XXXXXXXX XXXX XXXXXXX

XXX XXXX XXXX XXX XXXX XXXX XXXX

XXX XXXX XXXX XXX XXXX XXXX XXXXXX

XXX XXXX XXXX XXX XXXX XXXX

Day, Month, Year Day, Month, Year Day, Month, Year Day, Month, Year Day, Month, Year

Day, Month, Year Day, Month, Year Day, Month, Year Day, Month, Year Day, Month, Year Day, Month, Year

Day, Month, Year Day, Month, Year Day, Month, Year Day, Month, Year Day, Month, Year Day, Month, Year

Emily Hammond Design 5

Day, Month, Year Day, Month, Year Day, Month, Year Day, Month, Year Day, Month, Year

Day, Month, Year Day, Month, Year Day, Month, Year Day, Month, Year Day, Month, Year Day, Month, Year

Day, Month, Year Day, Month, Year Day, Month, Year Day, Month, Year Day, Month, Year Day, Month, Year

OVERVIEW OF COSTS

The following estimates are preliminary projections based on the scope of work as outlined in this proposal. The costs cited below are best estimates of what actual design expenses will be. The above estimate does not include applicable taxes, freight, printing costs, or travel expenses unless otherwise noted. Consultation on XXXXXX $ xx,xxx Design of XXXXXX $ xx,xxx Consultation on XXXX $ xx,xxx XXXXXXX $ xx,xxx Total for Services $ xx,xxx

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Emily Hammond Design 6

XXXXXX DESIGN ESTIMATE

DESCRIPTION OF SERVICE Consultation on XXXXXX including consultation, research and creation of XXXXXX Design of XXXXXX: Design Services, including development of X to X initial concepts, comprehensive refinements, research and art editing Project Management Services, including vendor contact, scheduling and estimating, and client contact Production Services, including electronic mechanical art preparation, and preparing files for programming Subtotal for Design Services: Consultation on Production/Implementation, including consultation of XXXXXX and XXXXXX Additional design rounds (per hour)

$ xx,xxx $ xx,xxx $ xx,xxx $ xx,xxx $ xx,xxx $ xx,xxx $ xx,xxx

WHAT WE CAN DO FOR YOU

Emily Hammond Design 7

WHO WE ARE

WHY CHOOSE US

Osam voluptat. Nobit as es restin eum reperaepe nossum enis sit omnis alitatas aspeliquam quam, vent est, tetur molendis maio magnimi llatur, am rempore pudae. Nam laborum et ipient aut ra quosam haribea voluptatur re cullique explabore, sam enduscia nust occus ea nimosti net volo que im repuda aut exerum, quat lam ex eaque porepe nos eos diciasi tatureruptas repe co

Impora exerione et libusandunt ant reius, sa que doluptur? Ro et quas de derfers pitatemque lamusdae quaspid esequia musdant quia corem. Dentint restiun totatiorum elesed ut perrum ne eatempor at quidebitat alibus mollis minciist, temquo minullamus dero ommolupid ullaceriae nus nimus elluptur a voluptatiam, at ipsum aut veles esciis doluptatem quodionsed molut eatati officiis et doluptatur solupta turiorro officimus. Our capabilities include: XXXXX XXXX XXXXXXXXX XXXXX XXXX XXXXXXXXX XXXXX XXXX XXXXXXXXX XXXXX XXXX XXXXXXXXX XXXXX XXXX XXXXXXXXX XXXXX XXXX XXXXXXXXX XXXXX XXXX XXXXXXXXX XXXXX XXXX XXXXXXXXX

Ferovit aborpor maximolorume voluptat et rest odit odiatat mollum eicat. 1. XXXX XXX XXXX XXXX XXX XXXXX imi, quassi doluptaecus. Henimpera nus, volupta tibus, es pedi berum labore sunderferum ipsandi cumquib usape 2. XXXX XXX XXXX XXXX XXX XXXXX Bustiasp erciet, quae res aliquos denitibus, sincit labo. Caessit labor asit quibus, adiate paruptu ribus, in praepro repello resciasin nobit aut lique 3. XXXX XXX XXXX XXXX XXX XXXXX Elendam, odis venisciis seque miliquo et a sendionecum, culpa dest, omnimolor min conem ipsunt di si tem qui doluptam saperis.

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Emily Hammond Design 8

THE TEAM

EMILY HAMMOND Tia eiust quas et expellant imus most, sit omnitibust, eiuntiaspe et lacerovit fugit optiatia dio odi quis et alis maxim voluptae. Atur audam, sitatur, culparu ptatur alicillum di tendae omnis maximagnate commo eossitaquae dollorati voluptis il endi archit ommost faccaep reicit parum re etur sae nimoluptur aut eos ius quia qui dolor maximax imintessum as que volesti amusani hictasi mperibus auteser itatur aute pre, abo. Oloriae porrorpore omniata tisquis aspic tem il eum il mi, ipsum sectorum qui ut etur re plaut officiuntem aut autem as ne ad qui blaborehento occum dita non et voluptature et qui illabo. Nequidus alition sectota volupti onseque sam aspiciur, non consequam, sum re

LANCE MATTHEWS Tia eiust quas et expellant imus most, sit omnitibust, eiuntiaspe et lacerovit fugit optiatia dio odi quis et alis maxim voluptae. Atur audam, sitatur, culparu ptatur alicillum di tendae omnis maximagnate commo eossitaquae dollorati voluptis il endi archit ommost faccaep reicit parum re etur sae nimoluptur aut eos ius quia qui dolor maximax imintessum as que volesti amusani hictasi mperibus auteser itatur aute pre, abo. Oloriae porrorpore omniata tisquis aspic tem il eum il mi, ipsum sectorum qui ut etur re plaut officiuntem aut autem as ne ad qui blaborehento occum dita non et voluptature et qui illabo. Nequidus alition sectota volupti onseque sam aspiciur, non consequam, sum re

Emily Hammond Design 9

CLIENT LIST

XXXXX XXXXX XXX XXXXX XXXXX XXX XXXXX XXXXX XXX XXXXX XXXXX XXX XXXXX XXXXX XXX XXXXX XXXXX XXX XXXXX XXXXX XXX XXXXX XXXXX XXX

XXXXX XXXXX XXX XXXXX XXXXX XXX XXXXX XXXXX XXX XXXXX XXXXX XXX XXXXX XXXXX XXX XXXXX XXXXX XXX XXXXX XXXXX XXX XXXXX XXXXX XXX

XXXXX XXXXX XXX XXXXX XXXXX XXX XXXXX XXXXX XXX XXXXX XXXXX XXX XXXXX XXXXX XXX XXXXX XXXXX XXX XXXXX XXXXX XXX XXXXX XXXXX XXX

Emily Hammond Design 10

CASE STUDIES

NAME OF ASSOCIATION Month | Year Cab iusa nam a peliqui veligenis moluptiunt por minihit di te non con pratem id eiuscia venesecae exerita tumquo qui adistem expliti optatia est reperem voluptatia nonsed que derrum que volorundanis dem ipsuntia in nonsecerum aut libearcid miliae net la doluptas arum di as eum eatia vit, nia doluptin eaqui vent vel mi, totatium re dolor aliquiatur, volestrum nimaiorem. Sit et aut anis ab ipsunt aut liquid quo earum rehendestium fugiat dis alignis nimil in et idis nis et debis aut enihit vidi blacea eatempo riatur? Orem alitati comnime eaquas nis eostinusae omni dist harum esseritibus ernatem olorem fugitate reictiae voluptiae vent verescil maximi, sim corempos excest, omnias aut fugit, quam,

NAME OF ASSOCIATION Month | Year Cab iusa nam a peliqui veligenis moluptiunt por minihit di te non con pratem id eiuscia venesecae exerita tumquo qui adistem expliti optatia est reperem voluptatia nonsed que derrum que volorundanis dem ipsuntia in nonsecerum aut libearcid miliae net la doluptas arum di as eum eatia vit, nia doluptin eaqui vent vel mi, totatium re dolor aliquiatur, volestrum nimaiorem. Sit et aut anis ab ipsunt aut liquid quo earum rehendestium fugiat dis alignis nimil in et idis nis et debis aut enihit vidi blacea eatempo riatur? Orem alitati comnime eaquas nis eostinusae omni dist harum esseritibus ernatem olorem fugitate reictiae voluptiae vent verescil maximi, sim corempos excest, omnias aut fugit, quam,

IMAGE IMAGE

PROJECT CATEGORY

Emily Hammond Design 11

NAME OF ASSOCIATION Month | Year Cab iusa nam a peliqui veligenis moluptiunt por minihit di te non con pratem id eiuscia venesecae exerita tumquo qui adistem expliti optatia est reperem voluptatia nonsed que derrum que volorundanis dem ipsuntia in nonsecerum aut libearcid miliae net la doluptas arum di as eum eatia vit, nia doluptin eaqui vent vel mi, totatium re dolor aliquiatur, volestrum nimaiorem. Sit et aut anis ab ipsunt aut liquid quo earum rehendestium fugiat dis alignis nimil in et idis nis et debis aut enihit vidi blacea eatempo riatur? Orem alitati comnime eaquas nis eostinusae omni dist harum esseritibus ernatem olorem fugitate reictiae voluptiae vent verescil maximi, sim corempos excest, omnias aut fugit, quam,

NAME OF ASSOCIATION Month | Year Cab iusa nam a peliqui veligenis moluptiunt por minihit di te non con pratem id eiuscia venesecae exerita tumquo qui adistem expliti optatia est reperem voluptatia nonsed que derrum que volorundanis dem ipsuntia in nonsecerum aut libearcid miliae net la doluptas arum di as eum eatia vit, nia doluptin eaqui vent vel mi, totatium re dolor aliquiatur, volestrum nimaiorem. Sit et aut anis ab ipsunt aut liquid quo earum rehendestium fugiat dis alignis nimil in et idis nis et debis aut enihit vidi blacea eatempo riatur? Orem alitati comnime eaquas nis eostinusae omni dist harum esseritibus ernatem olorem fugitate reictiae voluptiae vent verescil maximi, sim corempos excest, omnias aut fugit, quam,

IMAGE IMAGE

PROJECT CATEGORY

Emily Hammond Design 12

REFERENCES

NAME OF ASSOCIATION Contact Name Association Name Address Phone Email NAME OF ASSOCIATION Contact Name Association Name Address Phone Email NAME OF ASSOCIATION Contact Name Association Name Address Phone Email

Emily Hammond Design 13

TERMS AND CONDITIONS

TERMS Evero berumque dolum ex exped ut imincia nitaqui officae pro omniendis nisimincit, qui utatquae natumque volupist dolorit es doloreped qui alitasp elendunt pa sedigenimus, omnimu-sae de poressitas est inus. DESCRIPTION OF WORKAturern atinvendam, eate et eveles expedit, seque ea nectur andipidis conse ratur sitas dolutem nisinve rundign imaios quod quunt que voloria sequas eium qui coriost, siti dendamus eatio. Ut magnis ipsandi sequi blatem natemporem. Et dest abo. Bus iur PAYMENTComnime nos quas esequod igniantis mi, solut pratate velesti ssimusae eatempor sanimpe non experibus, corem. Perior si cupid quae. Nem aut arum vendant eturitatur solupidia consent vitiostis aut ex et reperna tusam, nectur aut ut rempor am utatur si ut hillaborist, quae aspic CHANGES TO THE SCOPE OF WORK Tem Nam fugiatur, quost atem elici oditatem fugitat ut quias aciis et aut ommoluptiis as ea conet vellutae non post que lit, volorias utestotate preius, cum estotas debit aut voluptae. Harchilit et officte voluptur? Quia sum rem et ut estiuntias ma nonsenimus inum dollibe riorpor poreped et ulla delic te nos simpos volorempe nonsequam qui cumqui sum doluptatquam alis aut molo ium dentur mi, as estrum undit il moluptatur am apit que doluptati te aut posa dolupta turiam OVERTIME/RUSH CHARGESOvidunt aliqui solores eatempe rest et alique dolent lam eos sunt ressitatus esto conserae an-dam volupta ssinullit ilici omnimo eum hicienda destium, a qui dolorum essincte eos quunt eos magnatq uatiorr oratem consedi stecus es aliquist et apidit, ut quae velit ut doluptios dolorecea nonsequunt molorem fuga. Nam comnimporem eosaess imenducia quae eatisquam dolores tisciis dolor audicias conseque necea volorem elliqui delecae sum ut plabo. Et qui quae re nobit es debiti debitios sitio cullaceptam hillab impost adiatius ex eosam rectum fuga. Quid quaepudit OWNERSHIP AND USAGE RIGHTS Lupiet acernatur? Et que aut evenduc iisciendae et es et odia culpa sin ni bla natempo repudion et, ut latem fugitaqui aut et, nimoluptam quo delentiati blaut volorum explam harcienis dus.Parchit assimil iquosam explam int, quo et esequia doluptae comniatiur, quibus dolescia volup-tam, omnist, offic tem que quas venis et quo berum necum veliti quaspis imiliti corit inti quodi nullace rnatint dolorep erumquo es doluptasim etur? Idunt que perumenit, sum qui unt maxim fugiam aut liquatur ma sum et rerate peris ent, ande sum volor sam, quae nosant.

NON-DISCLOSURE OF CONFIDENTIAL INFORMATION Evero berumque dolum ex exped ut imincia nitaqui officae pro omniendis nisimincit, qui utatquae natumque volupist dolorit es doloreped qui alitasp elendunt pa sedigenimus, omnimu-sae de poressitas est inus. CONFIDENTIAL INFORMATIONAturern atinvendam, eate et eveles expedit, seque ea nectur andipidis conse ratur sitas dolutem nisinve rundign imaios quod quunt que voloria sequas eium qui coriost, siti dendamus eatio. Ut magnis ipsandi sequi blatem natemporem. Et dest abo. Bus iur RETURN OF CONFIDENTIAL INFORMATIONComnime nos quas esequod igniantis mi, solut pratate velesti ssimusae eatempor sanimpe non experibus, corem. Perior si cupid quae. Nem aut arum vendant eturitatur solupidia consent vitiostis aut ex et reperna tusam, nectur aut ut rempor am utatur si ut hillaborist, quae aspic INDEMIFICATION Tem Nam fugiatur, quost atem elici oditatem fugitat ut quias aciis et aut ommoluptiis as ea conet vellutae non post que lit, volorias utestotate preius, cum estotas debit aut voluptae. Harchilit et officte voluptur? Quia sum rem et ut estiuntias ma nonsenimus inum dollibe riorpor poreped et ulla delic te nos simpos volorempe nonsequam qui cumqui sum doluptatquam alis aut molo ium dentur mi, as estrum undit il moluptatur am apit que doluptati te aut posa dolupta turiam APPLICABLE LAW/DISPUTE REVOLUTIONOvidunt aliqui solores eatempe rest et alique dolent lam eos sunt ressitatus esto conserae an-dam volupta ssinullit ilici omnimo eum hicienda destium, a qui dolorum essincte eos quunt eos magnatq uatiorr oratem consedi stecus es aliquist et apidit, ut quae velit ut doluptios dolorecea nonsequunt molorem fuga. Nam comnimporem eosaess imenducia quae eatisquam dolores tisciis dolor audicias conseque necea volorem elliqui delecae sum ut plabo. Et qui quae re nobit es debiti debitios sitio cullaceptam hillab impost adiatius ex eosam rectum fuga. Quid quaepudit CANCELLATION Lupiet acernatur? Et que aut evenduc iisciendae et es et odia culpa sin ni bla natempo repudion et, ut latem fugitaqui aut et, nimoluptam quo delentiati blaut volorum explam harcienis dus.Parchit assimil iquosam explam int, quo et esequia doluptae comniatiur, quibus dolescia voluptam, omnist, offic tem que quas venis et quo berum necum veliti quaspis imiliti corit inti quodi ERRORS Beritem. Itatio et ut volest fugit ra vollorem aut labo. Sum reces dis se rerio exero blandis molorrovid ma inctotatia eseque voluptas ut as sitaepudios et et acerepu dicias sam aligni doluptios estis atia quid magnati osanihitium aut rerrovi digendus. Vid et, sed que sequis moluptatur magnihit acea.

Emily Hammond Design 14

PERFORMANCE Evero berumque dolum ex exped ut imincia nitaqui officae pro omniendis nisimincit, qui utatquae natumque volupist dolorit es doloreped qui alitasp elendunt pa sedigenimus, omnimu-sae de poressitas est inus. PRICINGAturern atinvendam, eate et eveles expedit, seque ea nectur andipidis conse ratur sitas dolutem nisinve rundign imaios quod quunt que voloria sequas eium qui coriost, siti dendamus eatio. Ut magnis ipsandi sequi blatem natemporem. Et dest abo. Bus iur WAIVERComnime nos quas esequod igniantis mi, solut pratate velesti ssimusae eatempor sanimpe non experibus, corem. Perior si cupid quae. Nem aut arum vendant eturitatur solupidia consent vitiostis aut ex et reperna tusam, nectur aut ut rempor am utatur si ut hillaborist, quae aspic SEVERABILITY Tem Nam fugiatur, quost atem elici oditatem fugitat ut quias aciis et aut ommoluptiis as ea conet vellutae non post que lit, volorias utestotate preius, cum estotas debit aut voluptae. Harchilit et officte voluptur? Quia sum rem et ut estiuntias ma nonsenimus inum dollibe riorpor poreped et ulla delic te nos simpos volorempe nonsequam qui cumqui sum doluptatquam alis aut molo ium dentur mi, as estrum undit il moluptatur am apit que doluptati te aut posa dolupta turiam INDEPENDENT CONTRACTOROvidunt aliqui solores eatempe rest et alique dolent lam eos sunt ressitatus esto conserae an-dam volupta ssinullit ilici omnimo eum hicienda destium, a qui dolorum essincte eos quunt eos magnatq uatiorr oratem consedi stecus es aliquist et apidit, ut quae velit ut doluptios dolorecea nonsequunt molorem fuga. Nam comnimporem eosaess imenducia quae eatisquam dolores tisciis dolor audicias conseque necea volorem elliqui delecae sum ut plabo. Et qui quae re nobit es debiti debitios sitio cullaceptam hillab impost adiatius ex eosam rectum fuga. Quid quaepudit NOTICES Lupiet acernatur? Et que aut evenduc iisciendae et es et odia culpa sin ni bla natempo repudion et, ut latem fugitaqui aut et, nimoluptam quo delentiati blaut volorum explam harcienis dus.Parchit assimil iquosam explam int, quo et esequia doluptae comniatiur, quibus dolescia voluptam, omnist, offic tem que quas venis et quo berum necum veliti quaspis imiliti corit inti quodi ENTIRE AGREEMENT Beritem. Itatio et ut volest fugit ra vollorem aut labo. Sum reces dis se rerio exero blandis molorrovid ma inctotatia eseque voluptas ut as sitaepudios et et acerepu dicias sam aligni doluptios estis atia quid magnati osanihitium aut rerrovi digendus. Vid et, sed que sequis moluptatur magnihit acea.

Emily Hammond Design 15

Emily Hammond Design 16

SIGNATURES

This agreement was entered into between Emily Hammond Design and XXXXXXXX as of DAY, MONTH, YEAR

Emily Hammond Design Authorized Signature Date

Client Authorized Signature Date

Are you wasting time on proposals you don’t win?Learn how to win more projects with the

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2. Logo/Corp ID + Website (design only) for a jewelry company

3. Website refresh + update for an investment bank

4. Website revamp for a law school (higher ed)

5. Rebranding and packaging for tobacco product

6. Booklet for a nonprofit

7. Rebranding for a government agency

8. Marketing Campaign for a medical center

9. Video for a pet product company

10. Marketing Campaign for a public library system

11. Advertising for a global technology company

PLUS• 9 Keys to help you create

job-winning proposals

• Webcast with Ilise Benun: Proposals That Get You The Job (Video + PDF of slides)

• Bonuses on RFPs (Requests for Proposal)› Should you or shouldn’t you?› How to decide which RFPsto pursue

› How to increase your chancesof winning an RFP

› Responding to an RFP

The Designer’s Proposal Bundles Volume 1 and 2 by Ilise Benun

of Marketing-Mentor-Toolbox.com

Pre-Proposal Checklist: 10 Things You Need To Know To Win the JobUse this checklist to get the crucial info you need to write a strong proposal that will win you the job.

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r 1. The Goals: What are the big-picture goals of this project? What specificobjectives do you need to achieve? How does this project fit into your overall plan? How will you measure the success of this project?

r 2. The Market: What/who is the market for this project? Is there research available on the market? Is this the first time you’re approaching this market?

r 3. The Content: Where will the source content come from? Is it ready? Will research be necessary? Do you need messaging or copywriting assistance? Are there specific technologies you do or do not want used?

r 4. The Timeframe: What is your timeline? Is there a hard deadline? Is this a rush? How quickly does your team provide feedback between drafts? Are there other factors that get in the way?

r 5. The Contact: Who will be our main point of contact? Will he/she be involved from the start or jump in later?

r 6. The Decision-Making Process: Who is the main decision-maker on this project? Is it one person or a committee? How will you select your vendor and what is the most important factor in your selection? Price? Location? Style? References? Past experience in your industry? Something else?

r 7. The Budget: What budget have you allocated for this project? Are you thinking $xxx or $xxxxx? Do you have an overall marketing budget for the year? What is it?

r 8. The Proposal: What would you like to see in the proposal? Should we include printing? Coding? Copywriting? What else?

r 9. The Other Vendors: How many others are bidding on this project? Do you have someone in mind for the project already? Can you say who or what size firm?

r 10. The Proposal Presentation: Will you be available on (date/time) for us to present the proposal to you either in person or via phone/Skype?

Are you wasting time on proposals you don’t win?Learn how to win more projects with the

Designer’s Proposal Bundle 25 Resources for Project-Winning Proposalsby Ilise Benun

www.marketing-mentor.comwww.marketingmixblog.com

www.marketing-mentor-toolbox.com201-653-0783

Use what you learn, and the bundle will pay for itself on your next job. Guaranteed. (If you are unsatisfied with the product, Marketing Mentor will provide a full refund.)

Get the Designer’s Proposal Bundle for just $89 (usually $99) with promo code: SAVE10.Buy it here: www.proposalbundle.com

Here’s what you get in the Designer’s Proposal Bundle! Buy it here: www.proposalbundle.com

11 Actual Sample Proposals 1. Logo Design for a copywriter

2. Logo/Corp ID + Website (design only) for a jewelry company

3. Website refresh + update for an investment bank

4. Website revamp for a law school (higher ed)

5. Rebranding and packaging for tobacco product

6. Booklet for a nonprofit

7. Rebranding for a government agency

8. Marketing Campaign for a medical center

9. Video for a pet product company

10. Marketing Campaign for a public library system

11. Advertising for a global technology company

PLUS• 9 Keys to help you create

job-winning proposals

• Webcast with Ilise Benun: Proposals That Get You The Job (Video + PDF of slides)

• Bonuses on RFPs (Requests for Proposal)› Should you or shouldn’t you?› How to decide which RFPsto pursue

› How to increase your chancesof winning an RFP

› Responding to an RFP

2014 © Marketing-Mentor.com

78 • OCTOBER 2009 W W W. H O W D E S I G N . C O M

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CLOSING

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W W W. H O W D E S I G N . C O M HOW • 79

You know how it is: The ideas are percolating, you’re e-mailing back and forth, getting to know a prospective client and letting them get to know you. You’re thinking about how

great the new project will look in your portfolio. And you certainly won’t mind collecting the paycheck. Full of hope, you send off your proposal, then you sit back and wait.

And wait. And wait. Sometimes you get the job. But often, you get

nothing, not even a return phone call. “Why not?” you wonder. “What did I do wrong?”

First of all, don’t jump to conclusions. It may have nothing to do with you or your proposal. The project may have been put on hold. That happens a lot, espe-cially in a tricky economy like this one. However, there are things you can do during the proposal process to increase your odds of closing the deal. But fi rst you have to fi gure out what the problems are and how to remedy them.

IS IT YOUR PRICE?Many of the problems that arise over the course of a project can be traced back to choosing the wrong clients in the fi rst place. Writing proposals is very time-consuming. So just because someone asks for a proposal doesn’t mean you should always provide one. The only way to save time and avoid writing propos-als that go nowhere is to make sure the prospect can afford you. That usually means talking about money early on—a good habit to get into. You’re not quoting prices at this point; you’re simply discussing price ranges to make sure you’re in the same ballpark.

In other words, the proposal shouldn’t be the fi rst time your prospect sees your numbers. In fact, by the time you get through the proposal process, you should have already had multiple communications, addressing all the important issues and asking all the right questions. The proposal that results is essentially a detailed con-fi rmation, recap or expansion of what’s been discussed, including the project’s budget.

There’s more to submitting a proposal to a client than putting pen to paper. Learn when to talk money, how to present your proposal, when to follow up and what to do if you don’t get the gig. B Y I L I S E B E N U N

THE DEAL

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80 • OCTOBER 2009 W W W. H O W D E S I G N . C O M

IS IT THE PROPOSAL DOCUMENT?Your proposal—the document that details what you propose to do for a client—is an important marketing tool, but maybe not as important as you imagine.

Its objective is to outline your approach and your strategy, plus provide details about your background and experience that’s relevant to the project. But most proposals are too long and fi lled with too much generic material, conveying heft rather than substance. And while proposals are essential to the selling process, especially if you’re pursuing complex projects from large corporations, designers who shy away from sell-ing tend to use the proposal to do the bulk of the sell-ing for them. But it can’t. That’s not its purpose.

Yes, you need a template for your proposals so you don’t have to reinvent the wheel each time you create one; but the proposal you submit should be anything but generic. Find out as much as you can from your prospect, then customize your proposal so that it reads like a document written expressly for them. Include as many details and references to conversations you’ve had as you can. Go out of your way to think through the project and let that thought process be refl ected in the document. You might even include additional research you’ve done.

Next, think about how your proposal will be used (and if you don’t know, ask). For example, if your contact isn’t the decision-maker, your proposal will probably be used to sell your services up the chain to their management. Those people won’t have spoken to you or met you. They won’t have seen your website. All they have is the proposal. So if you wonder whether to include an idea that was discussed during your con-versations or additional samples you showed to your direct contact, go ahead and include them. Make sure your proposal presents the full picture of your services and makes the strongest possible argument for why you’re the best candidate for the project.

At the same time, don’t put too much weight on the proposal itself because there’s more to the process than what’s on paper. What matters more is how well you communicate and follow through, how reliable you are, how you speak to them and how well taken care of they feel, including during the follow-up process.

IS IT YOUR PRESENTATION?If your proposal is going to be effective, your prospect has to read it. Unfortunately, most clients collect a stack of proposals, skim through them (often online), look at the pictures (if there are any) then fl ip (or scroll) directly to the page with the numbers.

It doesn’t have to be that way. In fact, the way to guarantee that they read it thoroughly is to walk (or talk) them through your proposal in real time—and you should, whenever possible. This is an important aspect of using the proposal as a closing tool, and it’s your very best opportunity to get the job.

Remember that your proposal is one part of a con-versation, and you need to be present for the response. Your prospects need to understand what you have to offer and how you’re different from your competitors. Don’t make your proposal shoulder that burden. You

can do a much better job in real time and through direct contact.

Make arrangements to present your proposal in person. To get your prospect to agree to this, start lay-ing the groundwork early in the process. At the end of your very fi rst meeting or phone call, instead of saying, “We’ll get back to you with a proposal,” try this: “When can we meet to go over the proposal?” That question implies that this is your standard process.

If they say, “Just send it to me,” respond with, “We want to make sure you understand all the different aspects of the proposal, so our policy is to present it in person” (or on the phone, if they’re not local). Be sure to use the phrase “our policy”—it’s much stronger than “we prefer” or “we like to.” It implies that there’s a process in place, which, in itself, conveys a high level of professionalism.

Emphasize the benefi ts of presenting the proposal in real time: Your prospect will have a chance to ask questions about anything unclear and to correct any-thing that was misunderstood. And if the proposal needs to be revised based on new or clarifi ed infor-mation, you can discuss those details as part of that meeting, thereby saving valuable time and bringing the proposal closer to what they actually need (and pros-pects often don’t even know what they need).

If meeting face-to-face isn’t feasible, ask for a phone (or video) call with all decision makers present. And if that doesn’t work, try to submit your proposal as a draft fi rst, with only an exposition about the project—no numbers or fi gures (which you will have already dis-cussed anyway). Make it very clear that you’re submit-ting the draft to make sure that you’ve understood their needs correctly. Once you have their feedback, you can make the necessary changes, then add detailed pricing in line with the ranges discussed earlier and submit it as the fi nal proposal. This process essentially requires prospects to read everything instead of going directly to the bottom line. And it works.

ARE YOU NOT ASKING FOR THE SALE? Of course, you hope the client comes back and says, “We’ve made our decision. We want you to do this project.” And that does happen, sometimes.

When it doesn’t, many designers lose the project because they don’t ask for the sale. That’s why it’s essential to learn basic selling techniques, such as how to close the deal. Some people may seem like natural salespeople, but selling is a skill you can learn and practice. Here are fi ve techniques you can use. Don’t forget that this takes practice. The better you become, the more projects you’ll win.

1. Ask if they have any fi nal questions. When you’re marketing big-ticket creative services, your prospects may be interested, but they probably also have real questions that need answers. That’s another good reason to present your proposal in real time. Listen closely and repeat the questions back. Answer them if you can, or let the prospect know you’ll provide the answers promptly.

2. Outline the next step. If you’ve answered all their questions, ask if they’re ready to make a decision. If

Even if they aren’t ready

to close, there’s

more to be done. You can

continue to

nurture the

relationship,

showing what a

productive and

pleasant experi-

ence it would be

to work with you.

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W W W. H O W D E S I G N . C O M HOW • 81

RESPONDING TO AN RFPIf you receive a request for proposal that already provides a structure for your proposal, don’t even think about using your own template. Your prospect needs to compare apples to apples. Whenever possible, contact the prospect to clarify anything you don’t understand. In fact, this is a good idea even if you think you understand everything. This conversation will separate you from those who simply reply to the RFP without any actual contact.

If you can’t get through to anyone, think twice before spending your time on a long-shot RFP. That time may be much better spent reach-ing out to prospects who are a better fi t.

so, say, “Here’s the next step in the process.” Don’t ever leave any doubt as to whether they’ve made the commitment. Ask them specifi c questions that lead to the next steps, such as, “Are you ready to sign the contract?” or “Are you ready to schedule the fi rst work-ing meeting?”

3. Make it easy. Do everything you can to make it easy for your prospects to take that next step. There should be an activity they do to cross the bridge from prospect to client, such as signing a contract, fi lling out a questionnaire or paying an invoice—something to make the process offi cial. Offer to send this docu-ment; don’t wait for them to ask for it.

4. Give a deadline. People often need to be nudged before they take action, so it’s up to you to create a sense of urgency. Put a deadline on the sales process, such as “This proposal is good until the end of this month” or “We have one slot left in our schedule for this month, and I’d be happy to hold it for you if you decide by Friday.” If that doesn’t work, you know there may be something holding up the process, and you need to fi nd out what it is. They may have more ques-tions, or you may have a bit more selling to do.

5. Offer an incentive. If you’re sure all of your pros-pect’s questions are answered, but they’re still hesitat-ing, try an incentive. We’re so brainwashed by our consumer society that people sometimes won’t buy without an incentive. Don’t resist this; go along with it. Offer a little something extra if they sign before a specifi c date or, if necessary, offer a discount if they meet a certain deadline.

What if you try these techniques and they don’t work? Be patient, but not passive. Even if they aren’t ready to close, there’s more to be done. You can con-tinue to nurture the relationship, showing what a pro-ductive and pleasant experience it would be to work with you. Let your prospects know you’re available to answer any questions they have. Send along articles or links related to the project. You might even try offering some of your ideas for the project in an informal way. Anything to show you’re thinking of them and eager to get to work.

WHAT IF YOU DON’T GET THE PROJECT?You had high hopes. They seemed enthusiastic, but when you asked for the sale, you found out you weren’t chosen for the project. It’s hard not to be disappointed, but the reality is that this is part of doing business. Each time it happens, it will thicken your skin.

That’s why, throughout the proposal process, it’s important not to lose sight of the big picture. Don’t assume this project is the one and only opportunity you’ll have to work with this prospect. Instead, think about this as your fi rst proposal for them, the beginning of a relationship. If this project doesn’t materialize, know that you’ve had the opportunity to lay a founda-tion and to get to know a prospect you’re interested in. Likewise, the prospect has had a chance to see your work and, more important, to get to know you and your company a bit. Don’t underestimate the investment they make in this process. Make it your business to build on that investment by staying in touch.

Start laying the groundwork for the future right away. Follow up graciously. Thank them for the oppor-tunity. Let them know you’ll stay in touch and would welcome another chance to submit a proposal.

And ask what they decided. There are myriad rea-sons why potential clients make one choice and not another, sometimes unrelated to the quality of the work. Because you put so much time and energy into the proposal process, you have the right to ask. Be diplomatic. Don’t ask why they didn’t choose you; ask instead what choice they made and why. What was it about the designer or fi rm they selected that tipped the scales in their favor?

You also should ask for feedback on your proposal. Preface by saying your goal is to improve your own marketing process. What did they think of it? What worked and what didn’t work? They may not respond to your request, or if they do, they may not tell you the whole truth. Either way, it’s important to ask, and whatever feedback you get will be useful.

Finally, learn everything you can from the experi-ence, whether it’s related to the proposal process, to that prospect specifi cally or to the industry. Take it one step further and outline in writing how and what you’ll do differently next time.

Ilise Benun is an author, consultant, speaker and co-founder of Marketing Mentor and the Creative Freelancer Conference. Her books include “The Designer’s Guide to Marketing and Pricing” and “Stop Pushing Me Around: A Workplace Guide for the Timid, Shy and Less Assertive.” Sign up for her free tips at www.marketing-mentortips.com.

WEB EXTRASVisit HOWdesign.com/blackhole for tips on what to do if your proposal disappears into a black hole.

To download a PDF of a sample real-world proposal, visit HOWdesign.com/proposal.

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2015 © Marketing-Mentor.com

About Ilise Benun Ilise Benun is a business expert exclusively for creative professionals. She is the founder of Marketing-Mentor.com, the author of 7 business books for creative professionals, a national speaker, and co-founder and host of the Creative Business track of HOW Design Live. Her simple, common-sense ideas are spread via her free email newsletter, Quick Tips from Marketing Mentor, and have been featured on Entrepreneur.com, Inc. Magazine, Crain’s New York Business, Working Woman, The New York Times, The Washington Post, The Denver Post, Toronto Globe and Mail, HOW Magazine and more. She has presented workshops through art schools and trade organizations that cater to independent creative professionals including AIGA, Graphic Artists Guild, Rhode Island School of Design (RISD), The School of Visual Arts (NYC), Pratt Institute, the Freelancers Union, International Association of Business Communicators, Registered Graphic Designers of Ontario (Canada), Graphic Designers of Canada, American Marketing Association, Business Marketing Association and many more. During her 25+ years of self-employment, she has been on a mission to provide the business basics creatives never learned in school. Through one-on-one coaching, she offers custom guidance, accountability, encouragement, a sounding board, and, sometimes, a bit of nagging. She has also built an online store, Marketing Mentor Toolbox, where creatives can find the tools they need to grow, including The Marketing Plan + eCalendar for Creative Professionals and bundles of sample proposals. To stay in touch, take advantage of her free 30-minute mentoring session and sign up for her Quick Tips.

Find us at: www.marketing-mentor-toolbox.com + @MMToolbox

The Creative Professional’s 2015 Marketing Plan + eCalendar To Get The Work You Want

Marketing Mentor Can Help.I’ve spent the past 25 years guiding creative professionals like you through their marketing process, ultimately helping them get the clients and types of (high paying) projects they want. I’d love to help you succeed in your business too. Here’s how:

1. Free Mentoring Session. Need help or answers to your specific marketing questions? Take advantage of the free half hour phone or Skype mentoring session. I promise, it’s not a sales pitch! Just sign up here and I will contact you with possible times to talk: http://marketing-mentor.com/wed-love-hear-you

2. Proposal Review, Critique and (sometimes) Writing. If you need advice, guidance or hands-on help with an existing or upcoming proposal, I’ll help you demonstrate your skills in the most confident, effective way possible. Email ilise@marketing-mentor.com for details.

3. Free Tips in your Inbox. Sign up for Quick Tips, my bi-weekly dose of marketing tips, advice, and resources: http://www.marketing-mentortips.com

4. Podcasts on Marketing for Creative Professionals: http://marketingmentor.libsyn.com

5. The Marketing Mix Blog: http://www.marketingmixblog.com

6. Have you seen the Proposal Samples and Bundles in the Marketing Mentor Toolbox (http://www.marketing-mentor-toolbox.com)? Our low-priced, info-packed bundles are perfect if you’re writing a proposal, confused about pricing, or ready to tackle networking. Check them out:

• Proposal Bundle: Resources for Project-Winning Proposals

• Pricing Bundle: The Tools for Smart Pricing

• It’s Who You Know: The Ultimate Networking Kit

I hope your 2015 is a great success. I’m here if you need support along the way.

Thanks, Ilise

Copyright © 2015 Marketing Mentor All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic, or mechanical, including photocopying, recording, or by any information storage and retrieval system, without permission in writing from the publisher.

Need Help Staying on Track?

Ilise Benun Your Marketing-Mentor.com (201) 653-0783 ilise@marketing-mentor.com

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