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Beyond Writing: How Expanding Your Services Can Strengthen Your Freelance Business

Wednesday, July Post a comment

When I first started freelancing in 2012, I spent about 80 percent of my time marketing and 20 percent of my time writing. Over time, that ratio flipped. As my client base grew, I spent most of my days doing the work itself rather than looking for the next project.

For many years, writing alone was enough to meet my business goals. But over the last few years, I’ve watched the marketplace change dramatically. Artificial intelligence has altered client expectations. Marketing budgets have tightened. Many organizations are investing more heavily in video, social media, and other forms of content rather than relying exclusively on long-form blogs, newsletters, and articles.

Like many writers and editors, I found myself asking an important question: How do I continue building a sustainable business in a changing environment?

My answer wasn’t to stop writing. It was to expand the ways I help clients solve problems. Writing is still a piece of that puzzle, but an increasingly smaller role in my business overall. It’s had an interesting effect: while it was hard to pivot, I also now have more of my “writing brain” left over for my own creative pursuits and publishing projects. Ultimately, that’s a win for me.

 

Why Marketing Writing Services Has Become More Challenging

The challenge facing many independent writers and editors isn’t a lack of talent. It’s that clients are increasingly focused on outcomes rather than deliverables.

A client may think they need blog posts. What they actually want is more website traffic, better lead generation, stronger customer engagement, or increased book sales. Writing remains part of the solution, but it is often no longer the entire solution. As a result, many freelancers are finding themselves competing in a crowded marketplace where writing is viewed as one component of a larger strategy.

That doesn’t mean writing skills are less valuable. In fact, I would argue the opposite. Strong communication skills are more valuable than ever. The difference is that many clients now need help connecting those skills to larger business objectives.

 

Look for Adjacent Opportunities

One of the biggest mistakes I see freelancers make is trying to diversify into whatever seems new, trendy, or profitable.

A better approach is to look for adjacent services that naturally connect to the work you already do and enjoy.

In my own business, diversification often happened because clients kept asking for help with challenges beyond writing. Could I help manage a project? Could I coordinate other freelancers? Could I help build a process? Could I advise on marketing strategy?

Those requests eventually led me into project management, consulting, fractional CMO work, fractional COO work, developmental editing, book coaching, publishing consulting, and content strategy.

The common thread wasn’t that I suddenly became an expert in a completely unrelated field. Instead, I built on skills I was already using every day.

Writers and editors often possess highly transferable skills, including:

  • research
  • organization
  • interviewing
  • communication
  • strategic thinking
  • process improvement
  • project coordination.

Many of us are already managing deadlines, coordinating stakeholders, gathering information, and synthesizing complex ideas. Those abilities translate surprisingly well into consulting, project management, training, coaching, and strategic advisory work.

 

Start Small Before Making a Major Pivot

If you’re considering adding a new service, resist the temptation to launch an entirely new business overnight. Instead, test it. Offer a small project to an existing client. Take on a short-term engagement. Explore the work before making a major commitment.

Every new service comes with learning curves and blind spots. There are often gaps in our knowledge that don’t become apparent until we work through a few real-world projects. Starting small gives you the opportunity to refine your systems, establish boundaries, improve your processes, and determine whether you actually enjoy the work. That’s an important point (it’s how I learned I really hated running Amazon Ads for other authors, but love doing Facebook ad strategy.)

Just because a service is profitable doesn’t mean it belongs in your business. The goal is not simply to generate more revenue. The goal is to create a business that is sustainable and enjoyable for the long term.

 

How Additional Services Can Deepen Client Relationships

One unexpected benefit of expanding my services is that I now work with fewer clients, but at a deeper level. Years ago, I might have had 10 to 15 writing clients at any given time. Today, I have only one client whose engagement consists solely of writing. Even that client recently approached me about expanding into project management and operational support.

When you become a trusted advisor rather than a single-service provider, your relationship with clients often changes. For example, I may begin working with an author as a developmental editor. Later, that same client may need help creating a marketing plan, navigating the publishing process, organizing a launch strategy, or coordinating outside vendors.

Similarly, a business client might initially hire me for content creation but later need assistance with project management, operational systems, freelancer coordination, or strategic planning. The result is a stronger relationship built around solving problems rather than delivering a single product.

Many of these relationships also tend to last longer. One of my current fractional CMO engagements is entering its sixth year. I’m harder to “let go” because I represent a big part of their marketing or operational plan.

 

The AI Opportunity for Writers and Editors

Artificial intelligence is often framed as a threat to writers and editors. While it has certainly changed the landscape, it has also created new opportunities. Nearly every client I work with wants guidance on AI. They want to know when to use it, how to use it, and where its limitations exist.

Because writers understand language, nuance, audience, and quality, we are uniquely positioned to help clients make informed decisions. In many cases, AI can help generate rough draft outlines, frequently asked questions, or ideas. In other situations, particularly when technical expertise, legal accuracy, brand voice, or strategic messaging are involved, human oversight remains essential. Lean into that. People trust me for my advice on this because I can show them where AI’s limits are and what’s at stake. Especially in the publishing world, many new authors don’t know what they should not be doing with AI, so I’ve had a lot of conversations about that with prospective clients who see me as a trusted ally from day one because I steered them away from dangerous waters.

Clients increasingly need someone who can explain the difference between what AI does well and where it really doesn’t belong at all. Same goes for conversations around software vs. people. That advisory role represents a significant opportunity for experienced professionals.

 

Build Multiple Referral Pathways

One final advantage of expanding your services is that it creates multiple referral channels.

Today, a significant percentage of my business comes through referrals. Some people refer me for fractional leadership work. Others refer me for book coaching, developmental editing, content strategy, or publishing guidance. Because I offer several complementary services, there are more opportunities for people to think of me when a need arises. That doesn’t mean you should offer everything. It means you should thoughtfully consider where your expertise can solve additional problems.

 

Moving Forward

The future of independent writing and editing doesn’t require abandoning the work you love. For many of us, however, it may require thinking more broadly about how we apply our expertise.

The strongest opportunities often exist just beyond the services we currently offer. By listening to client needs, exploring adjacent skills, and testing new offerings thoughtfully, writers and editors can create more resilient businesses while continuing to build careers centered on communication, creativity, flexibility, and problem-solving.

 

Laura Pennington Briggs
NAIWE’s Business of Writing Expert

Laura Pennington Briggs is the founder and CEO of the Freelance Coach. A three-time TEDx speaker on how freelancing is changing the economy, Laura has helped over 15,000 freelancers start and scale their businesses. She’s an expert on systems, project and client management, marketing a solopreneur business, delegating to team members, retainers, and developing multiple income streams for writers of all stripes. Laura is the author of five books, including the Six-Figure Freelancer, How to Start Your Own Freelance Writing Business, and award-winning Remote Work for Military Spouses. She’s currently preparing to defend her dissertation for her doctorate in business administration.

Categories: Editorial Services, Freelancing, Laura Pennington Briggs, NAIWE Board of Experts

Stick with Your System

Monday, June 1 Comment

About a month ago, I secured a ghostwriting job with one of my favorite all-time clients. Let’s call him Greg. After years of running marketing and ad agencies, Greg made a shift into a consulting practice for small and medium businesses. The goal of the book is to help popularize the system he’s created, so that entrepreneurs can either implement it themselves or hire him to manage the process.

At some point during one of our interviews, the conversation turned to pricing. It’s my favorite business topic, and one that I’ve written about extensively, including my own book, The Science, Art and Voodoo of Freelance Pricing and Getting Paid.

My go-to strategy, particularly for complex projects, is to use an estimated range: The lower end is what I’d calculate as a firm project bid, but then I also have a higher end that allows for a process that requires more work than I realized without having to renegotiate. As a side benefit, it incentivizes the client to be easy to work with, since they know they can save money if everything goes smoothly.

But when I estimated Greg’s project, I didn’t use a range — and he asked me why. Looking back, I’m not sure why I didn’t.

I suppose it was because I’ve worked with him so long that we have lots of trust and value each other and the relationship. Maybe I was so focused on details in the scope of work that I was too confident in my numbers. If the project runs longer than expected, however, or if the book comes in 40 pages longer than we discussed, he’s not going to quibble about the cost. He pays very well and promptly and has always had my back.

Still, it’s nagging at me that I made a rookie mistake.

The takeaway for me is that you need to stick with your system. It’s a key message in Greg’s book, and apparently one that I needed to be reminded of.

 

Jake Poinier
The Freelance Expert

Jake Poinier made the leap into freelance writing and editing in 1999 after a decade of positions in the publishing industry, giving him key insights from both sides of the desk. As the founder and owner of Boomvang Creative Group, he has worked with a diverse array of Fortune 500 and small businesses, consumer and trade magazines, and independent authors. Jake is committed to helping freelancers improve their businesses and shares his knowledge and experiences frequently as a speaker at industry conferences, through webinars, and on his blog.

Categories: Freelancing, Jake Poinier, NAIWE Board of Experts

In a Pricing Rut? Try These 3 Strategies

Thursday, June Post a comment

If you want a truly profitable freelance business, pricing and estimating aren’t just a matter of crunching the numbers on your hourly rate or looking up the ranges on an industry association website. We’re accustomed to putting most of our energy into creativity for our writing, editing, and design clients — but when was the last time you devoted some brainpower towards freshening up your pricing methodology?

 

Different Prices for Different Clients

I recognize that there are freelancers who price everything the same, whether the hourly rate or the calculation for a firm quote. (I won’t argue if that’s what works for their businesses. It’s certainly the simplest route.) Unless you have a truly uniform clientele, however, you’re likely leaving money on the table. To cite an extreme example, it doesn’t really make sense to charge a lawyer or Fortune 500 company the same rate as a local animal shelter. But the principle is also applicable to situations when you can detect that a client is going to be high maintenance with meetings, phone calls, etc.

 

Seek Out Other Resources

If you’re depending on industry rate sheets and surveys as your primary basis for pricing, you’re overlooking one of the best resources around: solid networking with people who use freelance services, but aren’t necessarily a client. Think graphic designers, marketing and advertising folks, web firms, magazine editors, and even freelancers who subcontract. Caution: This isn’t a shotgun cold-call situation; it needs to be people who you have a relationship with. (And if you don’t have cross-industry relationships, put that on your to-do list!)

 

Always Be Experimenting

It’s easy to imagine that an annual price increase is sufficient. While that’s a good start, it’s worth trying different strategies with how you present estimates. One example would be what I call the car sales approach — give the client low, medium, and high options, with additional bells and whistles as the price goes up. My favorite is to provide an estimated range rather than a firm price. That gives you more negotiating wiggle room — and it also encourages clients to go easy on the phone calls and rounds of revisions in order to keep their invoice down.

 

Jake Poinier
The Freelance Expert

Jake Poinier made the leap into freelance writing and editing in 1999 after a decade of positions in the publishing industry, giving him key insights from both sides of the desk. As the founder and owner of Boomvang Creative Group, he has worked with a diverse array of Fortune 500 and small businesses, consumer and trade magazines, and independent authors. Jake is committed to helping freelancers improve their businesses and shares his knowledge and experiences frequently as a speaker at industry conferences, through webinars, and on his blog.

Categories: Freelancing, Jake Poinier, NAIWE Board of Experts

Don’t Feel Obligated to Give an Off-the-Cuff Estimate – with 1 Exception

Friday, June Post a comment

You don’t have to be in business very long before you’ll have a conversation like this:

Prospective client: “What do you charge for X?”

You: “Honestly, it depends on how many words/pages X is.”

Prospective client: “Well, we’re not really sure yet. Can you just give me a ballpark number on what you usually charge for X?”

You: “I’d be able to give you a much more accurate estimate with additional information. Do you have time to answer a couple of questions?”

Prospective client: “Well, we’re still really early in the process and trying to figure out our budget. If you can provide me a basic number, I can take that back to the team.”

It’s a bit like an improv comedy skit, but unfortunately, it’s never funny. At the risk of seeming evasive, you really should never feel obligated to give an off-the-cuff estimate over the phone. If you do, there are three primary negative outcomes and a ton of permutations:

  • You tell prospects a number that’s too low — and then they’re shocked when they get the actual, much higher “real” estimate, once you’ve calculated the scope of work.
  • You give them a number that’s too low — and they want you to stick to it, as if you signed some sort of magical contractual agreement.
  • You provide a number that would be too high for the actual project parameters — and you scare them off without a chance to understand their needs and come to mutually agreeable terms.

Sure, you might happen to guess a number that works for the client, gets you the job, and results in a lucrative project. The odds are heavily against this, however, and it’s generally not worth the risk. You have no written documentation, just a verbal offer: the weakest, least persuasive position to be in. An estimate based on fuzzy information can be hazardous to both your business and your sanity. And there’s no way to price the latter.

 

What’s the Exception to the Rule?

If an existing client — one you have an excellent relationship with and have done multiple jobs for — asks you to give an over-the-phone quickie quote, there’s no reason to be coy. This individual knows you are an honest businessperson, and he or she is just trying to get some information based on limited facts, not trying to trick you into saying something you’ll regret later.

Even so, you’ll still want to provide a conservative range and offer a disclaimer that you’ll need more information to estimate accurately: “Sara, those types of projects generally run from $900 to $1,400, but as you know it’s going to depend on how long the actual document is, how many interviews I need to do and other factors. Sounds like a great opportunity, so please let me know when you have the details and I’ll turn around a more accurate bid the same day.”

 

This post was adapted from Jake Poinier’s The Science, Art and Voodoo of Freelance Pricing and Getting Paid, available on Amazon.

 

Jake Poinier
The Freelance Expert

Jake Poinier made the leap into freelance writing and editing in 1999 after a decade of positions in the publishing industry, giving him key insights from both sides of the desk. As the founder and owner of Boomvang Creative Group, he has worked with a diverse array of Fortune 500 and small businesses, consumer and trade magazines, and independent authors. Jake is committed to helping freelancers improve their businesses and shares his knowledge and experiences frequently as a speaker at industry conferences, through webinars, and on his blog.

 

Categories: Business, Freelancing, Jake Poinier, NAIWE Board of Experts

Shifting from Goals to Intentions: A Helpful Approach for ADHD Writers

Monday, May 1 Comment

When you have ADHD, writing can result in a lot of stress. You may love ‘being’ a writer, brainstorming ideas, even editing, but getting words on the page, staying focused, or organizing your thoughts may be a struggle. And then there is all the productivity advice you’re told should work if you show up consistently and set measurable goals.  Write for two hours every morning. Be consistent. Track your output.

While these strategies can help some people, many of us with ADHD experience them as a cycle of pressure, resistance, and eventually failure.

I know that cycle well. For years, I set measurable targets for myself. Write 1,000 words a day, write for one hour daily. I bought into the idea that they would keep me motivated. And while I did manage to maintain the momentum briefly, I eventually got bored with the routine. I would churn out words for the sake of meeting my goals. My focus shifted from communicating something meaningful to simply hitting the numbers. The work felt mechanical, and, well, hard.

Interest is a major driver of motivation for ADHD brains. When the topic or task loses its sparkle, staying committed can feel almost impossible, even when the deadline is real.

After training as an ADHD coach and integrating that training with my decade of experience as an editor and writing coach, working with writers of all skill levels, I’ve realized that many of my clients were struggling with processes and tools that weren’t designed for how their brains work. Many traditional productivity tools are designed for neurotypical brains. They assume that attention is within the control of the writer, that energy can easily be harnessed, and that there is a consistent relationship between time spent and output produced. ADHD disrupts those assumptions.

My own experience led me to move away from rigid goal-driven writing toward something far more sustainable and enjoyable: intention-based writing.

Goals and intentions may sound similar, but they operate very differently. Goals emphasize outcomes: finish the article by Tuesday, draft 2,000 words in the next 3 hours, and submit by Friday. They provide clarity but can feel very inflexible to an ADHD brain that thrives on novelty, engagement, and intuition. If you struggle with time blindness, difficulty initiating tasks, or fluctuating energy — all common with ADHD — missing a goal can feel like personal failure rather than a mismatch between method and brain.

Intentions focus on process and engagement. They describe how you want to approach the work, not just what you want to produce.

For professional writers, an intention might look like this:

  • Clarify the core message for the audience
  • Explore a topic with curiosity
  • Write a messy first draft
  • Translate complex information into plain language
  • Simply begin and see what insights emerge

The outcome is allowed to evolve.

This distinction matters because ADHD is fundamentally an executive function condition. Executive functions help us start tasks, plan, organize, regulate attention, and manage time. When those systems are struggling, rigid targets can lead to frustration and self-judgement.

Consider what happens when you sit down to write with a specific quota in mind. If getting started feels difficult, the target already feels out of reach. If your attention is hijacked, the clock becomes stressful instead of motivating. If time passes unnoticed, or painfully slowly, the schedule stops reflecting reality. None of this indicates laziness or lack of professionalism. It reflects how the ADHD brain processes effort and reward.

Measurable, like timers and word counts, assume a consistent link between time, effort, and results. ADHD breaks that link. Some days, you may struggle to produce a paragraph despite trying hard. On other days, you may slip into hyperfocus and complete an entire report in one sitting. Intention makes room for this variability rather than penalising it.

There is also an emotional difference. Goals invite evaluation: Did I succeed or fail? Intentions invite reflection: Did I engage with the work in a useful way? That shift alone can reduce self-criticism and make it easier to return to the task tomorrow.

When writers adopt intention-setting, several changes often follow:

  • The work feels less overwhelming
  • Sessions adapt more easily to fluctuating focus and energy
  • Engagement improves because curiosity replaces pressure
  • Self-compassion increases, supporting long-term consistency

Setting intentions doesn’t mean abandoning structure or deadlines. As a professional writer, you still need to deliver. It simply means choosing a day-to-day approach that feels more in line with how you thrive.

A helpful starting question is not “What do I need to produce?” but “How do I want to show up for this work today?” or How can I contribute to this project today?”

The answer might be focused, exploratory, analytical, patient, decisive, or open-minded. From there, translate that quality into a small, concrete action. Instead of aiming for a word count, you might:

  • Outline key points
  • Refine the headline or positioning
  • Research audience pain points
  • Draft messy ideas without editing
  • Dictate notes while walking
  • Rework a single section for clarity

Expand your definition of progress. Acknowledge to yourself that progress doesn’t need to be measured; it can be seen and felt.

My own shift came when I accepted that word counts, and timed writing sessions felt void of meaning to me. I needed writing to feel playful. It took me a while to feel confident enough to reject the idea of setting goals. I questioned whether I would feel overwhelmed without measurable goals. But I reminded myself that without intrinsic motivation to work, I wouldn’t be able to produce anything. So, I took the risk.

The change was gradual. But without performance pressure, curiosity returned. I reorganized ideas, wrote fragments, deleted sections, and followed new angles. Now, when I sit down to write, I feel energized instead of depleted.

If you want to experiment with this approach, try beginning each session by completing the sentence:

Today I intend to…

If you feel like you need a bigger picture of your project, start with an umbrella intention. Pull back, or zoom in as much as you need.

My intention for this project is to be curious, to explore, to produce interesting research, and to write with an authentic voice.

My intention is to allow myself to produce a messy first draft, no judgement when I write.

My intention is to engage with this project in a sensory way this week.

Keep the focus on experience and engagement rather than output. When you have completed your project, or even at the end of a writing session, or the end of each week, briefly reflect on whether the intentions helped. There’s no scorecard — just information you can use to adjust.

For writers with ADHD, productivity is not simply about effort. It’s about alignment between your brain, your motivation, and your environment. Intentions help create that alignment.

If goal-setting has left you feeling like you aren’t being the best writer you can be, the solution may not be trying harder — but trying differently. Start small. Choose one writing session to approach with an intention instead of a target and take notice of small shifts.

Professional writing is demanding enough without turning it into a daily judgment of your output. When you move from a productivity mindset to cultivating engagement, you give yourself a better chance of sustaining both the work and your love of writing.

Feel free to reach out to me for a free Discovery call if you want to continue this conversation!

 

Kirsten Donaghey is the author of A Novel Approach: Strategies for ADHD Writers. She is a certified ADHD coach and longtime editor and writing coach. A Canadian living in Vienna, she was the founder of a nonprofit writing hub where she organized writing workshops and networking events for local writers. She now works with clients worldwide as a coach and editor, thriving on collaboration and creative solutions. Her own inspiration comes from reading, traveling, hiking, meaningful exchanges, and creating. She specializes in helping writers, creatives, academics, and ADHDers with their projects and daily life.

Categories: Freelancing, Kirsten Donaghey, NAIWE Board of Experts, Writing

The Writing Book That Changed Me: If You Want to Write by Brenda Ueland

Saturday, May Post a comment

I can’t remember when I first encountered the writing book that changed me. I distinctly remember purchasing my own copy from the Quality Paperback Book Club in the early 1990s and then buying a second copy of it when my first copy walked to parts unknown. I must have lent out the second copy, because the dog-eared version on my shelves now is copy number three.

It happens to this book. You lend it out, and it disappears. Be prepared. Other writers have told me the same thing. “Oh, Brenda Ueland’s book? I lend that one out all the time. But sometimes, it doesn’t come back.”

It grabs hold of you, this book. At first, it seems disconnected, almost rambling. Quotations float in and out from William Blake, Wordsworth. However, once Brenda’s ideas about creativity and the source of creativity grab you, they don’t let go.

The book is If You Want to Write by Brenda Ueland, and it is the writing book that changed me.

 

Who Was Brenda Ueland?

She had two simple rules for living: to tell the truth, always, and not to do anything she didn’t want to do.

Born in Minneapolis to immigrant parents in 1891, she attended Barnard and became a freelance writer and journalist. Her prolific output of articles, stories, plays, and, eventually, her most famous work, If You Want to Write, accompanied a Bohemian lifestyle and unconventional ideas for her time. She led a writing class, and her book is based on the lessons she taught her students. She died in 1985, leaving many of us whom she had never met feeling like her students, too.

I’m one of her students.

 

The Best Book Ever Written About Creative Writing

Carl Sandburg once called If You Want to Write the best book ever written about creative writing, and if it’s not too bold of me to say so, I agree with him.

The book’s premise can be summed up as:

  • Everyone is creative
  • Everyone has something important to say
  • Writing should come from one’s honest, unforced self

When I first read this book, I felt a spark of excitement and recognition. Why, I’m like one of her students. Trying to write in fancy ways rather than simply, plainly telling the truth of my experience.

 

Finally, I Can Be Myself

I had teachers tell me to write like Hemingway, Dickens, Melville, Poe; I studied Milton, Shakespeare, and Dante. I loved all these writers, but trying to force me to write like them was ridiculous.

I needed someone to let me be me, to write like me, and that someone was Brenda.

Throughout the book, she provides examples of why we should write freely and without reservation, honestly and truthfully sharing what we see and feel. We should focus like children, creating a play — didn’t you write and perform plays as children? I did. She describes the “happy absorption” of children deep in the creative flow, and I remembered times in my childhood feeling that flow, that happy absorption, whether it was coloring the paper backdrop for our neighborhood performance of Rumpelstiltskin in third grade that we gave in the basement playroom of my house, or building cardboard houses for my Barbie dolls.

I wanted to tap into that creative flow, to have that happy feeling when writing. Writing had felt that way to me throughout high school. I often stayed up late, typing away on my mother’s Royal portable, writing horror and science fiction novels and short stories. As I grew older, majored in English, and told my college professors of my ambition to be a writer, they did their best to give me advice: write like Hemingway! Write like Joyce Carol Oates! Write like XYZ!

The more I was told to write like someone else, the more stilted and uncomfortable my prose became. I wrote stories I hated because my teacher for a short story workshop asked me to stop writing all those silly paranormal stories and focus on “true literary fiction.” As far as I could tell from the examples she shared with me, true literary fiction was a nebulous story with unlikeable characters and no real resolution, people wandering around drinking tea or having conversations I didn’t understand.

Everyone told me to write like someone else . . . but no one suggested I learn to better express myself to write like me.

 

Teaching Writing Lessons and Life Lessons

Brenda Ueland gave me permission to write like me. Throughout her book, she not only exhorts the reader to write their true feelings, but she shares examples of how writers improved their pieces once they shed the self-conscious, “I’m trying to be Shakespeare” feeling.

More than teaching me how to free myself from everyone else’s expectations about my writing, this book changed my view of the people around me. As I entered the marketing profession and eventually became a manager, Brenda’s views about writers became my views about people, period.

Brenda’s maxims that “Everyone is creative. Everyone has something important to say” became part of my management approach. With every marketing team I have managed through my career, I treat everyone with deep respect, seeing each one as creative and with something important to say or contribute. This has built stronger teams, better communication, and greater outputs. It’s as if people can sense it. I don’t say it aloud. It’s become part of how I treat others: with dignity and respect. If we are all channels of creativity, and each of us has something important to say, we are each worthy of the highest regard.

 

A Constant Companion on the Writing Journey

For over forty years, this book has been my constant companion. Every few months, I pick it up for a shot of inspiration. I read a few passages. I think about Brenda encouraging the little servant girls, shopkeepers, and everyone else in her classes in the 1930s to write from their hearts, to let their spirits soar free. If there is only one book you add to your writing library, make it this one. It’s not for everyone, but if it is for you, it will resonate quickly and deeply. It is truly a book that changed my writing life and my inner life, and a book I’m grateful to have discovered early in my career.

I sit at a sleek computer now, instead of that battered old olive-green Royal typewriter. I will always try to write with “microscopic truthfulness” thanks to this book. And when I do, my work is better for it.

 

Jeanne Grunert is the president and founder of Seven Oaks Consulting, a business-to-business content marketing agency. She is an award-winning writer and direct marketing expert with over 30 years of writing, marketing, and business experience. Prior to founding Seven Oaks Consulting, Jeanne led marketing for divisions of McGraw-Hill Education, Teachers College Columbia University, The College Board, and retail, publishing, and financial service companies in the New York City area. Known worldwide for her exceptional leadership and communication skills, Jeanne works seamlessly across cultural and corporate barriers to achieve outstanding results. She holds an M.A. in writing and an M.S. in direct and digital marketing (awarded with distinction) from New York University, as well as certifications in social media marketing, content marketing, and adult education. Originally from the New York City area, Jeanne currently resides with her husband, John, and many pets on a 17-acre farm in rural Virginia. When not leading marketing teams through her work at Seven Oaks Consulting, she enjoys gardening, reading, cooking, and writing mystery novels.

Categories: Fiction, Freelancing, Jeanne Grunert, NAIWE Board of Experts, Nonfiction, Writing

The 3 Things that Must Be in Place Before Your Marketing Will Work

Thursday, April Post a comment

Most editors and writers start with the wrong step. Here is the right order.

I have built over 22 websites for writers and authors. Before that, I spent 12 years designing for brands like Disney and Nike.

The single most common mistake I see? Talented freelancers pouring time and energy into marketing before they have built anything worth marketing toward.

They post. They pitch. They show up consistently. And nothing converts. Not because they are doing marketing wrong. Because three things are missing underneath it.

Fix these three things first. Then market.

 

1. A website that answers three questions in eight seconds.

When someone lands on your website, they decide whether to stay or leave almost instantly. Not after reading your bio. Not after scrolling to your portfolio. In the first few seconds.

Those seconds need to answer: who are you, what do you do, and who is it for.

Most freelance websites fail that test. The homepage opens with a name and a navigation menu. The bio is buried below the fold. There is no clear headline that tells a potential client they are in the right place.

The first thing I do with every client is ask: what do you want a visitor to do when they land here? If the answer isn’t immediately visible on the page, we fix that before anything else.

A clear website does not need to be complicated. It needs one strong headline, a short sentence about who you serve, and one action for the visitor to take next. That is it.

Everything else is secondary.

 

2. A lead magnet worth saying yes to.

A mailing list does not grow because you have a signup button. It grows because you give someone a specific, immediate reason to hand over their email address.

For debut and indie authors, the highest-converting lead magnets are not a free chapter or a vague newsletter promise. Readers opt in for one reason: they want more of the feeling your book gives them, right now.

What actually converts, by genre:

  • Romance: A bonus POV scene or extended epilogue. Readers want to know what he was thinking. Give them that. Conversion rate: 50 to 60 percent.
  • Fantasy: An origin story or villain prequel. Lore they cannot get anywhere else. It makes your main book feel like a sequel they are already late for.
  • Historical fiction: An annotated deleted scene or visual research dossier. This audience is research junkies. Feed that. They will become your most loyal reviewers.
  • Nonfiction and memoir: A short quiz or self-assessment tied to your book’s core idea. Two minutes, personalized result, immediate value. Readers opt in because it is about them, not you.
  • Business: A plug-and-play template, calculator, or one-page action plan from your book. This audience is time-poor. If it saves them work today, they will give you their email.

The rule across all of them: the incentive delivers the feeling or the value of the book before the book is in their hands.

For freelance editors, proofreaders, and writers, the highest-converting offers are not vague promises of future content. They are tools that solve a real problem today.

The four that convert best for this audience, in order:

  1. A current pricing guide. Freelancers are chronically anxious about undercharging. A clear PDF showing what to charge for different services in 2026 converts at 50 to 60 percent. It solves the most painful, least discussed problem in the industry.
  2. Pitch email templates. The exact emails that get responses from authors, publishers, and agencies. Finding clients is the second biggest pain point. Remove the guesswork and conversion follows.
  3. A client intake checklist. Ten questions to ask before saying yes to a project. Every editor who has ever experienced scope creep wishes they had this three clients ago.
  4. An editing speed tracker. A simple spreadsheet that calculates words per hour. Since most editors charge by project, knowing your actual speed is the fastest way to increase your effective hourly rate.

Notice what all of these have in common. They are not about you. They are about the person you are trying to reach. That shift in thinking is the whole game.

 

3. A brand that earns trust before you say a word.

People decide whether to trust you before they read your credentials.

They decide based on how your website looks. Whether it feels considered or cobbled together. Whether it reads like someone who takes their craft seriously or someone who built a site in an afternoon and moved on.

This matters especially for editors and proofreaders. You are selling precision, care, and professional judgment. If the platform that represents you is visually inconsistent or hard to navigate, it quietly works against everything your work stands for.

Design is communication.

A coherent, intentional brand says one thing before a client reads a single word: I know what I am doing.

You do not need an expensive rebrand. You need consistency. A clear color palette, one or two fonts used with intention, and imagery that reflects the quality of your work. That is enough to shift how a potential client reads everything else on your site.

 

Build the engine first. Then you can market.

Once these three things are in place, marketing works differently. The same post that used to get ignored now sends people somewhere worth going. The same effort that used to feel wasted starts compounding.

Marketing amplifies what is already there. Build something worth amplifying first.

If you are not sure where your foundation stands, I put together a free resource for authors that walks through exactly what to clarify before you build or rebuild anything online. It is the same worksheet I use with every custom author client.

You can download it at maitedalila.com/freebie.

 

Maite Dalila is a brand strategist, web designer, and storyteller who’s spent over 12 years helping brands like Disney and Nike create meaningful, human-centered experiences. Now, she focuses on helping authors build websites that feel like an extension of their voice and story, that don’t just look good but grow their audience and sell their books. She also writes fiction, so she understands the creative process from both sides. Through workshops, design strategy, and branding, she helps authors simplify the overwhelm of building an online presence, so they can focus on what matters most: their stories.

Categories: Freelancing, Maite Dalila, Marketing, NAIWE Board of Experts

6 Irresistible Reasons to Stop Explaining Yourself

Monday, December Post a comment

Writers and freelance editors often have to deal with naysayers and critics who can’t imagine why they don’t just get a “real job.” It can be hard to withstand the barrage of criticism until you’re willing to accept that it’s probably not going to change anytime soon. Here’s an article that can help you settle comfortably into your decisions and let criticisms fly by. The less time you spend on reacting to other people’s issues, the more time you can spend on creating a joyous and successful life.

 

Rita’s parents didn’t approve of her choice to get a new kitten. Rita was expecting a long letter from them filled with judgments about her irresponsibility. As she waited for that letter, she was figuring out what she would write back.

Sylvia, one of my Platinum-level coaching clients, just bought her dream house. She avoided telling her father about it for fear that he would judge her, call her irresponsible, and proceed to describe her imminent demise. She finally did tell her father. On a telephone call I had with her, she told me that she was waiting for his reaction and gearing up to explain her choice to him.

Now, there are some people who might read these stories and think, “Are you kiddin’ me? Who cares what anyone thinks about your houses or cats or anything??!”

If this is you, then read no further. This article is not for you.

I’m writing this for the “explainers” out there. And it doesn’t matter if you explain to parents, partners, or priests. You know who you are!

You’ve heard me talk about the benefits of going “Complaint-Free,” right? Well, today, we’re going to talk about going “Explaint-Free!”

And here are 6 irresistible reasons to do just that:

  1. Waiting drains your energy.
  • When I’m coaching an explainer, I can see that much of her energy goes to the act of waiting.
  • She waits for judgment.
  • She waits for people to “get” her before she’ll take action.
  • She waits for people to approve of her choice.
  • She waits for criticism.

This literally drains her creative life force. Both women in the examples above were losing energy waiting for criticism.

Here’s your first big challenge: Give up the nonactivity of waiting.

  1. We all need to learn to trust our choices.

Explaining robs you of empowerment.

Our decisions teach us valuable lessons about intuition and instinct. RARELY do our clear decisions come from our mental activity. Gut instinct is clearer than our critical minds.

When we explain ourselves, however, we move away from the place of deep trust in our intuition and into the realm of mental activity, where the choice didn’t come from in the first place! We’ve suddenly stopped honoring and trusting ourselves and started creating a pattern of mental activity as we question our choices.

  1. Explaining blocks creativity.

Creativity means you’re the Creator of your life. You’re a Creator. Not a Reactor. When you explain yourself, you become a “Reactor.” You can’t live in both realms at once. They contradict each other. Living in a state of reaction causes you to cut off the flow of creativity.

  1. Disapproval is a great opportunity.

Huh?

Yes, I’m serious about this!

Becoming an adult in the deepest sense is about learning to take responsibility for your actions and choices. Sometimes that means other people won’t like these actions and choices. And what a great opportunity people provide when they do that!

I once heard a relationship coach say that love can sometimes mean letting your partner be disappointed in your choices. Think about that. Can you stand in your body and love someone enough to allow them not be happy with a choice you’re making?

  1. Explainers endorse irresponsibility.

People who take personal responsibility for their lives do not blame others (or themselves) for their unhappiness, for their life situations, or for their financial state, etc. Instead, they recognize that they created it, and they can uncreate or recreate anything. It’s an empowering place to live.

Many people do not live in this level of personal responsibility. They are too busy blaming other people, taking other people’s inventory, and looking outside themselves for their happiness. Teacher and author Byron Katie calls this minding other people’s business instead of your own.

Your choice to explain yourself teaches other people that it’s okay not to take responsibility and that it’s okay to mind your business instead of their own. Your explaints actually perpetuate the pattern of irresponsibility!

  1. Explainers play small. It’s time to play big.

Explainers are waiting for permission, or approval, or for people to “get” their choices. So much unhappiness and depression comes from a lifetime of waiting for these meaningless things. It’s the ultimate meaning of Playing Small.

Playing Big means you trust in yourself enough to make lots of mistakes—and keep going anyway, no matter what people say to you. Playing Big means being clear and making decisions from your soul. And, by the way, your soul doesn’t feel the need to explain anything!

 

Christine Kane is the Mentor to Women Who are Changing the World. She helps women uplevel their lives, their businesses, and their success. Her weekly LiveCreative eZine goes out to over 12,000 subscribers.

Categories: Christine Kane, Freelancing, NAIWE Board of Experts

Guilt-Free Vacations

Thursday, November 1 Comment

I just got back from a much-needed vacation in the Caribbean. It was the first time in a long time that I barely touched my laptop while out of the office — but that was more a matter of fortunate timing than anything, avoiding the weeks in the month where I have regularly scheduled projects due. Beyond a quick edit to a web page and answering a few emails, the rest of my time was available for snorkeling, catching rays, eating fresh seafood, and reading books with my toes in the sand.

I’ve been freelancing for more than 26 years, and I’ve always had my laptop with me when traveling — going back to the days of dialing into AOL on a phone line. I know people will make you feel guilty that it’s not “really” a vacation if you do work, or that it’s somehow stressful or less relaxing. For me, that’s never been the case.

While I did not bring work with me in my days as an employee, as a business owner I must take care of my clients. And, since my wife and I like to travel, it would actually be *more* stressful for me to not be available to my clients. Giving myself permission to do a little bit of work opens up opportunities, and I refuse to feel guilty about that.

That said, I have some ground rules for myself:

  • As was the case for this vacation, I hustled extra hard in the preceding two weeks before this vacation to get as much done as possible. I don’t want to have anything weighing on me just because I was lazy or procrastinating. This is especially true since I’m faster working on my desktop at home than I am on the laptop.
  • Once we’re on location, I keep my wife informed about my plans, so she knows what to expect and can do something solo if necessary. When I’m going to work on something for two hours, there’s no reason for her to hang around the hotel room or coffee shop waiting for me.
  • I limit the amount of work in a given day, and try to schedule it early in the day so that my mind is free during the remainder of the day for fun and adventure.

Do you have your laptop in tow when you’re on vacation, or do you prefer to be fully unplugged? What’s your reasoning for one method or the other?

Jake Poinier made the leap into freelance writing and editing in 1999 after a decade of positions in the publishing industry, giving him key insights from both sides of the desk. As the founder and owner of Boomvang Creative Group, he has worked with a diverse array of Fortune 500 and small businesses, consumer and trade magazines, and independent authors. Jake is committed to helping freelancers improve their businesses and shares his knowledge and experiences frequently as a speaker at industry conferences, through webinars, and on his blog.

Categories: Freelancing, Holidays, Jake Poinier, NAIWE Board of Experts, Work-Life Balance

Just Following Up

Monday, December Post a comment

Earlier this fall, I was contacted by a prospect for a potential project. He runs a marketing/advertising agency, and we’d worked together for a third party on a project earlier in the year. This was my first chance to do some work directly for him, so I wanted to make it count.

We had a 30-minute Zoom call to discuss the scope of work, and it sounded like a good fit. I crunched the numbers and sent him an estimate the next day. He said he’d discuss it with his team and get back to me.

As it happened, my wife and I watched the movie Swingers over the weekend after I submitted the estimate. If you haven’t seen the movie, it’s a snapshot of the mid-1990s featuring a young Vince Vaughn and Jon Favreau. If you have seen it, you’ll recall the agonizing scene where Favreau’s character Mikey leaves a string of increasingly desperate voicemail messages on a girl’s answering machine — against the advice of his buddies, who tell him it’s smarter to wait a few days before calling. (Or even, one suggests, till the next Olympics.)

So I waited. And waited some more.

A week turned into two and into three.

At this point, I was assuming that it wasn’t going to happen, whether I had priced it too high or they had decided to do it internally, or to scrap it altogether.

Then, at the beginning of week four, I received this email: “Estimate sounds good, let’s get started!” I was both excited and relieved, not necessarily in that order, and the project (which wrapped up a week ago) was a success.

In retrospect, I’m glad that I stuck to my Swingers principle of being patient. Even when you’re excited about a project, it can come across as too eager or even desperate if you push someone to a decision when they haven’t had enough time. From personal business experience, a “Just following up” subject line is a huge turnoff.

In retrospect, however, I would have done one thing different: When I emailed the estimate, I could have simply asked, “When do you think you might have a decision?” or something similar. That would have given me a reason to reach out after a specific number of days or weeks, without feeling like I was being pushy—and also without having to wait till the 2026 Winter Games in Italy.

 

Jake Poinier made the leap into freelance writing and editing in 1999 after a decade of positions in the publishing industry, giving him key insights from both sides of the desk. As the founder and owner of Boomvang Creative Group, he has worked with a diverse array of Fortune 500 and small businesses, consumer and trade magazines, and independent authors. Jake is committed to helping freelancers improve their businesses and shares his knowledge and experiences frequently as a speaker at industry conferences, through webinars, and on his blog.

Categories: Freelancing, Jake Poinier

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