In most direct selling brochures and advertisements, the lead headline plays an essential role in grabbing the reader's attention and drawing them in.
So for designers who regularly design promotional materials, an ability to write or critique headlines can be advantageous.
This is the first of a two-part article revealing 13 proven headline-writing techniques. Use them as idea-starters to liven up an uninspiring copy-brief, and provide more motivation for an enticing visual approach.
The importance of the headline
When it comes to designing marketing materials, we always assume images attract more attention than words.
Not always.
A well-written headline can be just as effective at luring the reader’s eye as a well-selected visual.
And an advertisement or brochure cover that includes both a strong headline and strong visual can dramatically improve your chances of the piece getting opened, read, and acted upon.
Unfortunately, lots of design briefs include lazy headlines that fail to inspire.
Obviously, bad headlines means bad news for the client—people won’t read publicity that doesn’t shout for their attention.
It’s also bad news for you—if the headline doesn’t inspire you, how are you expected to produce an exciting design?
Offering headline consultation
Designers willing to consult with their clients on headlines can forge themselves a major business advantage. Writing headlines allows designers to connect the ‘voice’ and the ‘look’ of the promotion, making for a much more dynamic and memorable copy/visual message.
It’s is also a layer of service that can significantly boost a designer’s freelancing job opportunities. Offering headline writing can turn a freelance designer into an advertising consultant, and an indispensable creative vendor for marketing clients.
The secret of a good headline?
A good headline should seduce the target reader. It should grab the reader’s attention, hooking the reader into the body copy.
This two-part article reveals 13 tips for wording headlines. This week we'll look at numbers 1-5, next week we'll finish off with 6-13.
Use the tips as a platform for brainstorming ideas when suggesting improvements for your clients’ lead copy.
1. Ask a provocative question
Questions address the reader at a personal level, eliciting their agreement and creating a need for the product. Well-targeted questions draw the reader into the body copy by arousing curiosity.
Example:Do you make these mistakes in English?
2. Begin a story
A headline that promises an interesting or emotional story is guaranteed to catch the eye and encourage the reader to read on. For maximum effect, end your headline on a cliff-hanger so the reader has no choice but to find out what happens next.
Example:They laughed when I sat down at the piano but when I started to play!
3. Make a controversial statement
Controversial statements arouse curiosity and give your publicity news-value. If you have an opportunity to make a controversial statement in a manner that is consistent with your product’s message, make sure the claim is a) true, b) not offensive in any way, and c) fully explained in the body copy.
Example:There’s nothing free about free trade
4. Reveal an intriguing fact
Factoids satisfy the readers’ natural thirst for knowledge. Make sure the fact you choose is up-to-date and relevant to your target audience.
Example:60% of communication breakdown in learners of English is the result of bad pronunciation
5. Promise a reward for reading on
Headlines such as How to…, 5 reasons why…, and 10 top tips for... promise the reader nuggets of useful information when they read the body copy. These headlines can be extremely effective, so long as you deliver on your promise in the text.
Example:How to cut your home insurance bill in half
('How to Write Persuasive Headlines' is continued next week...)
The above tips have been adapted from 100 Copywriting Tips for Designers and Other Freelance Artists, available for download now at www.copywriting-designers.com
© Shaun Crowley 2006
Shaun Crowley has worked as a freelance copywriter and marketing consultant. He currently works as a communications manager for a major UK publishing company and is the author of The Freelance Designer's Self-Marketing Handbook and 100 Copywriting Tips for Designers and Other Freelance Artists.
design, tips, designer, copy, copywriting, headlines, how to write headlines, advertisement design, marketing, direct selling brochures, brochure cover, visual,
Saturday, 5 July 2008
Sunday, 20 April 2008
Freelance POP Display Design
For most freelance designers I know, Point of Purchase and exhibition displays are great fun to work on. But they're also hard to get right.
Displays only have ten seconds to grab attention and lure people over to the product or exhibition stand.
At the same time, the design must be consistent with the product’s or company’s brand image, and communicate an immediate sales message.
Here are 10 tips for effective POP display and exhibition design from a client’s perspective.
1. Always think about the customer.
Who will buy the product? Who will be drawn to the display? What are their likely ages, genders, occupations, incomes, personality types, goals, and aspirations? Use your knowledge of the customer to inform your design.
2. Remember that the headline is king.
Your headline or slogan is the mouth-piece of the display. Your design must reinforce the strengths of the headline to help communicate the brand-message immediately. Make sure the headline is easy to read from a distance.
3. Use compelling images for eye-catching impact.
Images have more impact if they are clear, specific, and definable. For example, an image of a telephone on a plain background is more likely to grab attention than an image of indefinable objects such as bubbles, wisps, or stripes.
4. Use faces.
Faces tend to grab more attention than inanimate objects. And they are especially effective in selecting the target audience.
5. Use the best quality images you can.
Urge your client to buy quality royalty-free photos instead of using cheap over-used images. I once visited a publishers' exhibition where three stands featured the same royalty-free photo.
6. Link the visual theme to the product.
The look of the display must connect to the brand in some way, via the logo design, the message of the slogan, or the company’s brand image. It’s no use people remembering your design if they can’t attribute it to anyone.
7. Conceptualize a design that helps to demonstrate the product.
Make the design revolve around the product so the product commands maximum attention. Don’t hide or embed the product in any way.
8. Include the product in the visuals you use.
If you can’t frame the product, include it in the display visuals—then you can use effects to make the product look good. Make it 3D, make it glow or sparkle, make it jump out and look desirable.
9. Jazz-up your POP displays using different types of materials.
You don’t have to print on cardboard. Try using acrylic, canvass, or glass. Let your imagination run wild—just make sure the material you use is consistent with the product image.
10. Strive for a unique look.
Find out what other types of designs your display will be competing with, and use this to inform your approach. For example, if no one else is using fluorescent colors, and this is consistent with the brand image, use fluorescent colors to make your display stand out from the crowd. Maybe you can use lighting to your advantage. Gizmos like battery powered lighting or interactive features help give the display a unique look.
Shaun Crowley has worked as a freelance copywriter and marketing consultant. He currently works as a communications manager for a major UK publishing company and is the author of The Freelance Designer's Self-Marketing Handbook and 100 Copywriting Tips for Designers and Other Freelance Artists.
© Shaun Crowley 2008
design, freelance, designer, freelance POP display design, freelance point of purchase design, exhibition design, tips, marketing communications, clients, point of sale design, business,
Displays only have ten seconds to grab attention and lure people over to the product or exhibition stand.
At the same time, the design must be consistent with the product’s or company’s brand image, and communicate an immediate sales message.
Here are 10 tips for effective POP display and exhibition design from a client’s perspective.
1. Always think about the customer.
Who will buy the product? Who will be drawn to the display? What are their likely ages, genders, occupations, incomes, personality types, goals, and aspirations? Use your knowledge of the customer to inform your design.
2. Remember that the headline is king.
Your headline or slogan is the mouth-piece of the display. Your design must reinforce the strengths of the headline to help communicate the brand-message immediately. Make sure the headline is easy to read from a distance.
3. Use compelling images for eye-catching impact.
Images have more impact if they are clear, specific, and definable. For example, an image of a telephone on a plain background is more likely to grab attention than an image of indefinable objects such as bubbles, wisps, or stripes.
4. Use faces.
Faces tend to grab more attention than inanimate objects. And they are especially effective in selecting the target audience.
5. Use the best quality images you can.
Urge your client to buy quality royalty-free photos instead of using cheap over-used images. I once visited a publishers' exhibition where three stands featured the same royalty-free photo.
6. Link the visual theme to the product.
The look of the display must connect to the brand in some way, via the logo design, the message of the slogan, or the company’s brand image. It’s no use people remembering your design if they can’t attribute it to anyone.
7. Conceptualize a design that helps to demonstrate the product.
Make the design revolve around the product so the product commands maximum attention. Don’t hide or embed the product in any way.
8. Include the product in the visuals you use.
If you can’t frame the product, include it in the display visuals—then you can use effects to make the product look good. Make it 3D, make it glow or sparkle, make it jump out and look desirable.
9. Jazz-up your POP displays using different types of materials.
You don’t have to print on cardboard. Try using acrylic, canvass, or glass. Let your imagination run wild—just make sure the material you use is consistent with the product image.
10. Strive for a unique look.
Find out what other types of designs your display will be competing with, and use this to inform your approach. For example, if no one else is using fluorescent colors, and this is consistent with the brand image, use fluorescent colors to make your display stand out from the crowd. Maybe you can use lighting to your advantage. Gizmos like battery powered lighting or interactive features help give the display a unique look.
Shaun Crowley has worked as a freelance copywriter and marketing consultant. He currently works as a communications manager for a major UK publishing company and is the author of The Freelance Designer's Self-Marketing Handbook and 100 Copywriting Tips for Designers and Other Freelance Artists.
© Shaun Crowley 2008
design, freelance, designer, freelance POP display design, freelance point of purchase design, exhibition design, tips, marketing communications, clients, point of sale design, business,
Monday, 10 March 2008
How to Write Self Promotion copy (Part 2)
Last time we practiced identifying and writing benfits to product features.
This week we continue writing benefit-led copy, culminating in an exercise in writing self-promotion copy for your design business.
This week we continue writing benefit-led copy, culminating in an exercise in writing self-promotion copy for your design business.
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Activity Three
Take a closer look at your three computer benefit statements. For each one, ask yourself: is this the furthest I can go with that particular benefit? Can I continue, turn it into an even bigger, more general benefit statement?
For example, my laser-guided mouse eliminates infuriating icon flickers and time-consuming cleaning, so the mouse is more pleasurable to use. But what does that mean? Is there a benefit to this benefit?
I suppose you could say that a more pleasurable-to-use mouse means that my copywriting assignments run smoother. And if my copywriting assignments run smoother, I work quicker. And if I work quicker, I earn more money.
So I can continue with this ‘pleasurable to use’ benefit until I reach an even more persuasive benefit: ‘I can make more money.’
Try doing the same thing with your three computer examples. Carry on using ‘…which means that…’ until you have found your most attractive benefit, as I have done below.
It has a laser-guided mouse… which means that the mouse is more pleasurable to use… which means that my writing is smoother… which means that I finish my assignments quicker… which means that I make more money… which means I can go on longer vacations
The computer weighs less than 10 lbs… which means I can take it to client meetings without hurting my back… which means that I can avoid aches and pains and therefore stay more active… which means I play tennis three times a week… which means I can live my life to the full outside work
It has 3 hours of battery life… which means I can write assignments by an open fire in a relaxing English pub… which means working is more pleasurable and less stressful… which means I can enjoy relaxing with my family in the evenings without feeling stressed
This activity might seem a little OTT. Clearly, it’s a bit of an exaggeration to say that the long battery life of my lap-top means I can enjoy relaxing with my family. But the aim of this activity is to get you into the habit of searching for benefits, even those general benefits that don’t appear obvious at first.
A good copywriter not only isolates key features and translates them into benefits, a good copywriter should also question whether those benefits can be taken further. Another lesson in the art of selling.
This advert for Ikea proves just how far you can go with a benefit. Buying an affordable kitchen doesn’t just mean you save money, it means you can afford to work less, which means you can spend more time playing with your children, as demonstrated in the visual.To finalize Activity 3, let’s try putting your benefits into a meaningful paragraph of copy. Take your favorite computer feature/benefit example, and try to present it in a few sentences that run together, like this:
The new Bell Experon 1300 includes a laser-guided mouse. Now you can avoid infuriating icon flickers and time-consuming mouse cleaning. Your mouse will be more pleasurable to use, your written assignments will run smoother, and you’ll work quicker too—so you can start earning more money!
Hint: Try to write the paragraph the way you would say it aloud. Pretend you are writing to a single person—use the word ‘you’.
How did you get on? Does your paragraph look like a real advert? If so, you’re now ready to write your own publicity!
If it needs improving, don’t worry, writing trip-off-the-tongue copy will come with practice.
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Activity Four
Before you start writing your marketing copy, let’s take a look at what you can do. You’ve learnt how to identify product features, how to turn them into benefits, and how to turn benefits into even more persuasive benefits. Now it’s time to put all these points into practice.
You’re going to write a paragraph of copy for your own business, to use on a mailer postcard or on your website.
First of all, draw up a list of features and benefits for your business services. This will be a little harder than the features and benefits you identified for your computer—now you have to think about the sort of services you offer (these are your features), and then think about what it all means for your client (these are your benefits).
Here’s an example to help you:
Feature: I specialize in print, web, 3D, and Flash design.
Benefit: I work across media, so you get one consistent look for your whole campaign, with everything in on time.
Feature: I use state of the art computing equipment.
Benefit: I have the best equipment, so you can be sure your project will run smoothly right up to finished piece.
Feature: I have international customers.
Benefiit: My design has global appeal, so you get more effective promotions in your overseas markets.
Feature: I include proof-reading as part of my service.
Benefit: My free proof reading service saves you time and money, and gives you the confidence that your finished publicity will be free from costly mistakes.
Evaluate each of your benefits. Can you take any of them further? For example, the benefits I have identified in my list above aren’t completely final.
I can continue with them like this:
• If I can get “a consistent look for the whole campaign and everything in on time”, then I can ensure my clients’ campaigns will be a success.
• If the “project runs smoothly right up to finished piece”, then my clients will find me easy to work with.
• If my design makes for “more effective promotions in your overseas markets”, then my clients will strengthen their international reputation.
• If my design is “free from costly mistakes”, then the publicity will communicate quality values to my clients’ customers.
Go through all your benefits and try to exploit each one. Then re-work your features and benefits into a section of copy, like this:
Call on XYZ Design Services, and you will…
Ensure your whole campaign is a success
I specialize in print, web, 3D, and Flash design. Because I work across media, you’ll get one consistent look for your whole campaign, with everything in on time.
Use a designer who’s easy to work with
I have the fastest, most up-to-date equipment, so you can be sure your project will run smoothly right up to finished piece.
Strengthen your international reputation
My design has global appeal—as reflected in my international client base. Count on me if you want to improve the effectiveness of promotions in your overseas markets.
Communicate quality values
My free proof reading service saves you time and money, and gives you the confidence that your finished piece will be free from costly mistakes.
Did you notice the three tricks I used in the copy above?
1. Reinforce features with benefits: in the four sections of body copy, I introduced a feature then reinforced with a benefit. The feature acts as the rational argument for using my design service, the benefit acts as the emotional argument.
2. Use headlines to highlight the key benefits: I headed each section of copy with a sub-headline that communicates the most persuasive benefit (those extra benefits I identified after I had written my original features/benefits list).
3. Use command verbs: To make these sub-headlines more engaging, I presented them as commands, so they are directly telling the reader to do something, and therefore make the reader sit up and take notice.
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Now you can sell your freelance services by using the ideas in this tutorial to write powerful website copy, or copy for a mailer postcard!
For more copywriting tips, visit http://www.copywriting-designers.com/
Shaun Crowley has worked as a freelance copywriter and marketing consultant. He currently works as a communications manager for a major UK publishing company and is the author of The Freelance Designer’s Self-Marketing Handbook and 100 Copywriting Tips for Designers and Other Freelance Artists.
© Shaun Crowley 2006
Saturday, 23 February 2008
How to Write Self-Promotion Copy (Part 1)
This two-part tutorial will help you write powerful website copy, or copy for a mailer postcard.
By the end of the tutorial you will:
- Have a page of dynamic copy that really sells yourself as a freelance designer.
- Understand the fundamental rule at the heart of all copy: thinking in terms of benefits.
- See just how easy it is learn the craft of copywriting, so you can integrate it into your creative service!
PART 1
The following tutorial is split into four activities. This post, Activities one and two; next post, Activities three and four.
You'll start from some basic work on identifying benefits in this post, to writing copy that sells your business in the next post.
Ready to start? Let’s go!
▼▼▼
Activity One
Think of a simple pen. Any normal pen on your desk will do—maybe a pen that you use to sketch with. Pick it up, take a look at it.
Now try to sell the pen in a paragraph of writing.
Initial reaction: Not sure where to start? Don’t worry, the prospect of writing sales copy is daunting without any formal sales training.
Maybe that’s why so many freelancers are dissuaded from learning how to improve their marketing copy. This is good news for you, because it’s really simple when you know how. Let me walk you through the process.
Pick up your pen again and take a look at it. Can you identify a feature that helps you to sell the pen?
A feature is a fact about the pen, an aspect of the pen that makes it useful. For example, my pen has a fine tip. It is also ¼ inch in diameter. These are examples of product features. Try to think of another feature of your pen.
When you have a feature in mind, ask yourself what benefit this feature provides you with, as a user of that pen. A benefit describes something that the user gains as a result of the feature.
So for example, my pen has a fine tip. That means I can sketch fine drawings and write cleanly and crisply.
My pen is also ¼ inch in diameter, so it’s easy-to-hold and comfortable to write with.
Both of the above sentences are examples of benefits. They show how the user benefits from the pen’s features.
Feature = what the pen has (fine tip)
Benefit = what the pen does (allows you to sketch fine drawings)
Hint: benefits are active; they include verbs (sketch, write, hold).
Now try converting your feature into a benefit. If you’re stuck, use the linking phrase "…which means that…" to help you (i.e. It has a fine tip, which means that I can sketch fine drawings and write cleanly and crisply).
Found your benefit? Then congratulations, you’re half-way to writing persuasive copy!
▼▼▼
Activity Two
Staying with the features and benefits model, let’s do the same with something a little bigger than a pen. Let’s try your computer.
Identify three features that make your computer desirable.
Think about the screen, the keyboard, the mouse, the general look, the hard-drive, the programmes, the price, the service package. Try to remember why you bought it. What features attracted you to this computer above all the others?
Now think about the benefits of those features. What do the features mean for you? What do they allow you to do?
Write your three benefits next to their respective features. If it helps, use "…which means that…" to link the features and benefits together.
Here are the three features and benefits for my lap-top PC.
Feature: It has a laser-guided mouse
Benefit: (…which means that…) I eliminate infuriating icon flickers and time-consuming cleaning, so the mouse is more pleasurable to use.
Feature:The computer weighs less than 10 lbs
Benefit:(…which means that…) I can take it to client meetings without hurting my back.
Feature:It has 3 hours of battery life
Benefit:(…which means that…) I can write assignments by an open fire in my local pub—and write for hours with a pint of my favorite English ale.
Get the idea? Copywriting is all about identifying attractive features, and then saying how the reader benefits from those features.
If you can do this, it doesn't matter if you're not an amazingly hot writer; you’ve mastered the art of selling. And copywriting is simply the art of ‘selling in writing’, or ‘salesmanship in print’.
But we’re not done yet. There are two more activities to go before you’re ready to write your own publicity material!
▼▼▼
Bookmark this site and return next time for PART 2 of 'How to Write Self-Promotion Copy'.
Shaun Crowley has worked as a freelance copywriter and marketing consultant. He currently works as a communications manager for a major UK publishing company and is the author of The Freelance Designer's Self-Marketing Handbook and 100 Copywriting Tips for Designers and Other Freelance Artists.
© Shaun Crowley 2008
design, freelance, designer, copy, copywriting, self promotion, tutorial, mailer postcard, marketing, website copy, business, write,
Wednesday, 30 January 2008
Expanding your design service with copywriting
Freelance designers working in the marketing sector are facing a new challenge.
The small design jobs they once thrived on—brochures, local newspaper adverts, small-business websites—are now being taken away by bigger design agencies looking to replace lost revenues.
This trend got me thinking about new ways one-shop designers can compete with the Big Fish. I realized there’s an obvious answer. It’s learning how to write marketing copy.
If you’re a freelance designer, you’re the perfect person to offer a copywriting service.
1/ Hiring a copywriter/designer is a mouth-watering prospect for many marketing clients. They avoid time-consuming briefing and service-searching from using separate freelancers.
2/ You can present yourself as a full-service design agency, rather than a one-shop designer.
3/ Copywriting is a useful skill to help you to promote your own services.
When I present the idea to designers on my circuit, their first reaction is: “Well, it sounds great, but I’m no marketeer.”
Not true, I tell them—you already have a good understanding of the marketing process…
- You design marketing communications materials
- You market yourself as a business
- You’ve probably written your own website
- You have an existing client base you can pitch your new copywriting service to.
“But I’m a designer, not a writer.” Sure—your business is in images, not words. But copywriting is a craft anyone can learn. There’s a formula you can work to, there are rules you can follow.
The time and commitment required for learning to write copy is not dissimilar to that involved in learning a new piece of design software.
OK, so you won’t turn into a scintillating copywriter overnight—but learn the tricks-of-the-trade and you can offer a competent writing service for your clients in as little as six weeks.
So how do you learn to write copy?
Start learning the basic rules of copywriting. Buy a good self-help copywriting manual and practice for an hour per day. Tell your clients you are learning to write sales copy—ask them to give you a simulated brief to work on. As you practice, pay particular attention to the five essential copywriting rules:
1. Highlight benefits. Say how the product or service benefits the reader. What do the features of the product mean to them?
2. Be specific. Replace descriptive language with facts. People react to concrete examples, they tend to ignore opinionated adjectives.
3. Write like you talk. Use the word ‘you’, like you’re talking to a friend.
4. Be succinct. Stick to one idea per sentence and one point per paragraph. Remove any repetition or unnecessary points.
5. Use headlines and visuals. Elevate the main benefits in your copy by presenting them as headlines. Also ask yourself if you can communicate your messages through photos or images instead of words. Most readers will scan publicity, so headlines and visuals need to work hard.
All copywriting rules can be learnt, including the five tips above—you don’t have to be a natural writer.
I have seen one-shop freelancers turn into successful agencies by integrating copywriting—people like Neil Tortorella , Dean Rieck, and Ayd Instone—all featured in my article The Rise of the Copywriter/Designer.
So why not give copywriting a try? To get you started, take my free tutorial or download my book 100 Copywriting Tips for Designers and Other Freelance Artists.
Shaun Crowley has worked as a freelance copywriter and marketing consultant. He currently works as a communications manager for a major UK publishing company and is the author of The Freelance Designer's Self-Marketing Handbook and 100 Copywriting Tips for Designers and Other Freelance Artists
The small design jobs they once thrived on—brochures, local newspaper adverts, small-business websites—are now being taken away by bigger design agencies looking to replace lost revenues.
This trend got me thinking about new ways one-shop designers can compete with the Big Fish. I realized there’s an obvious answer. It’s learning how to write marketing copy.
If you’re a freelance designer, you’re the perfect person to offer a copywriting service.
1/ Hiring a copywriter/designer is a mouth-watering prospect for many marketing clients. They avoid time-consuming briefing and service-searching from using separate freelancers.
2/ You can present yourself as a full-service design agency, rather than a one-shop designer.
3/ Copywriting is a useful skill to help you to promote your own services.
When I present the idea to designers on my circuit, their first reaction is: “Well, it sounds great, but I’m no marketeer.”
Not true, I tell them—you already have a good understanding of the marketing process…
- You design marketing communications materials
- You market yourself as a business
- You’ve probably written your own website
- You have an existing client base you can pitch your new copywriting service to.
“But I’m a designer, not a writer.” Sure—your business is in images, not words. But copywriting is a craft anyone can learn. There’s a formula you can work to, there are rules you can follow.
The time and commitment required for learning to write copy is not dissimilar to that involved in learning a new piece of design software.
OK, so you won’t turn into a scintillating copywriter overnight—but learn the tricks-of-the-trade and you can offer a competent writing service for your clients in as little as six weeks.
So how do you learn to write copy?
Start learning the basic rules of copywriting. Buy a good self-help copywriting manual and practice for an hour per day. Tell your clients you are learning to write sales copy—ask them to give you a simulated brief to work on. As you practice, pay particular attention to the five essential copywriting rules:
1. Highlight benefits. Say how the product or service benefits the reader. What do the features of the product mean to them?
2. Be specific. Replace descriptive language with facts. People react to concrete examples, they tend to ignore opinionated adjectives.
3. Write like you talk. Use the word ‘you’, like you’re talking to a friend.
4. Be succinct. Stick to one idea per sentence and one point per paragraph. Remove any repetition or unnecessary points.
5. Use headlines and visuals. Elevate the main benefits in your copy by presenting them as headlines. Also ask yourself if you can communicate your messages through photos or images instead of words. Most readers will scan publicity, so headlines and visuals need to work hard.
All copywriting rules can be learnt, including the five tips above—you don’t have to be a natural writer.
I have seen one-shop freelancers turn into successful agencies by integrating copywriting—people like Neil Tortorella , Dean Rieck, and Ayd Instone—all featured in my article The Rise of the Copywriter/Designer.
So why not give copywriting a try? To get you started, take my free tutorial or download my book 100 Copywriting Tips for Designers and Other Freelance Artists.
Shaun Crowley has worked as a freelance copywriter and marketing consultant. He currently works as a communications manager for a major UK publishing company and is the author of The Freelance Designer's Self-Marketing Handbook and 100 Copywriting Tips for Designers and Other Freelance Artists
Sunday, 30 December 2007
Email and telephone contact strategy for freelance designers
The key to an effective contact strategy is to clearly define your target audience. Who exactly are your prospective clients? Which industries do they work in? Are they mostly small businesses or marketing managers in Fortune 500 companies?
The following article offers tips for contacting prospective clients in the marketing communications sector.
Define your prospective clients.
There is a saying in direct marketing that 80% of your business comes from 20% of your list. This is very likely to be true for your business too.
Only 20% of the companies in your area are likely to offer a good return on your marketing efforts. We can term these clients as ‘high-status’ contacts.
80% of the companies in your area are not likely to offer a good return on your marketing efforts. We can term these clients as ‘low-status’ contacts.
The time you spend pitching to prospective clients should be proportional to the status they fall into. As a rough rule, spend 20% of your time marketing your services to low-status contacts, and 80% of your time marketing to high-status contacts.
So how do we define high-status and low-status contacts in the marketing sector?
High-status contacts
High-status contacts are simply clients likely to give you on-going or lucrative work.
In the main, we’re talking about people working in big companies. More specifically, promotional coordinators and marketing managers in sales and marketing departments.
These contacts offer the best return on your marketing efforts because they have bigger budgets (which means more lucrative assignments), they have more numerous on-going projects, they are more likely to rely on freelancers, they might recommend you to other departments, and they are likely to move around within the industry, taking their contacts with them.
High-status contacts may also be managers of smaller businesses, whose design needs relate to your particular area of expertise-maybe because you have substantial experience designing within their industry sector.
High-status contacts require personalized marketing contact. Focus your energy on getting meeting time with them. Stay visible; mail them, call them now and again, and send emails once a month to remind them you’re out there.
Low-status contacts
Low-status contacts are either people who rarely call upon freelance designers, or people who only call upon freelance designers for small-scale ad-hoc items. It is therefore unlikely they will offer lucrative or on-going work.
Low-status contacts are likely to be general managers or marketing managers of small-to-medium-size businesses with small promotional budgets. Since they don’t produce a constant stream of promotional materials, it’s not worth focussing your marketing efforts on substantial personalized contact.
The exceptions would be existing clients or contacts who may call on you as their ‘designer of choice’, maybe because you provide a specialist service (as mentioned above).
You shouldn’t neglect low-status contacts because they make up such a large section of your potential client-base. Sure, only a tiny percentage of low-status contacts will offer a good return on your marketing efforts. But even if just 1% of low-status contacts offer on-going or lucrative design work, that 1% is a large enough list of prospective clients to make a real difference to your bottom line.
Target low-status contacts with an email or mailing campaign.
It’s not worth personalizing your contact with such a large section of low-priority contacts. Instead, look for ways of reaching these people on-mass.
You can do this by buying a data-list of low-status contacts, and emailing or snail-mailing the people on the list. In my forthcoming book "The Freelance Designer's Self-Marketing Handbook" I'll show you how to buy a data-list, how to set up a direct mail campaign, and how to write your email or DM letter.
Set up a database of high-status contacts.
High-status contacts require lots of personalized contact. But first you have to find them and gather their details.
Search engines are the simplest way of looking for high-status contacts. Simply type in “Marketing department” followed by your region, and look for contact names, email addresses, and telephone numbers of likely high-status marketing contacts working within big corporations.
It’s a good idea to build yourself a database of high-status contacts, and to keep it regularly updated by adding new contacts on a weekly basis.
A database allows you to update all your marketing activities, so you can see who you contacted, when you contacted them, and what their response was. It’s an essential organizational tool.
To set up your database spreadsheet, allow columns for company name, company description, contact name, contact position, address, telephone number, email address, website address, low-status/high-status (we’ll discuss the reasons for including this later), and update notes.
Spend as much time as you can Googling businesses and searching their ‘Contact Us’ pages, entering new high-status contacts into your spreadsheet as you go. Your aim is to have hundreds of contacts on your database. The law of averages dictates that around 5% of these will make promising leads.
Phone then email.
The standard strategy for contacting prospective clients is to phone first, then follow up with reminder emails. There are two reasons why it’s advisable to contact people in this order.
Firstly, in an age when spamming is an increasing problem, a lot of people only trust emails from known contacts. To become a “known contact” you need to introduce yourself either face-to-face or on the telephone.
Secondly, talking to contacts on the phone gives you a chance to ask what kind of design needs they have. You can record everything in the company description column of your database, so when you email the contact later, you can tailor your message to the specific needs of the contact. You can also include relevant links to your online portfolio, making your design offer more targeted to the individual.
When you have phoned a contact on your database, make sure you keep your update notes column up-to-date. Include the date you contacted, degree of interest in your offer, and when next to contact.
In some instances, a telephone conversation will reveal that the contact isn’t really high-status at all, but for some reason or other, falls into the low-status category. Rather than delete the contact from your database, just tag the contact as low-status for your own reference—you’ve gone to the trouble of calling, so a quick email now and again won’t be a waste of time. (That’s why it’s a good idea to include a high-status/low-status column in your database, as advised above.)
(My forthcoming book "The Freelance Designer's Self-Marketing Handbook" includes a section on Telephone and Email Prospecting with tips and examples for effective cold-calling and follow-up email writing.)
Snail-mail then phone.
Cold-calling people can be a daunting experience. It is especially daunting if you’re calling really high-status contacts; when the stakes are high and one call can make a profound difference to your freelancing job opportunities.
In these cases, sending a teaser mailer through snail-mail a week before you call will help to break the ice, so when the contact picks up the phone, he/she already knows who you are.
Your teaser mailer could be a postcard with a thought-provoking line, a provocative question, or something else to arouse the recipient’s curiosity. For example: the front side of your mailer could read:
Heard the news?...
and the back could read:
…there’s a new freelance publicity designer in town
Then a short message at the bottom to introduce yourself:
Jon Woo— freelance publicity designer. www.callmewoo.com.
The secret of a good teaser mailer is to grab the recipient’s attention. You’re not trying to say everything about you and your service. Save that for your follow-up phone call. You’re simply gaining exposure by communicating your name and the core aspect of your design offer in a memorable way.
For example, one teaser I recently received from a touting freelancer was a Heinz tin-can, labelled “Double-concentrated talent”. The tin-can contained pureed tomato—the fact I tried to open the can reflects how successfully it caught my attention.
(In fact, I was so impressed by the self-promotion of this designer, I made it my mission to give him a graphic design assignment.)
The above article is adapted from my new book The Freelance Designer's Self-Marketing Handbook, available for download at www.marketing-designers.com.
The Freelance Designer's Self-Marketing Handbook includes additional chapters on telephone and email propsecting, setting up an Email campaign targeting data-list contacts, writing a self-promotion website, getting exposure in the newspapers, and creating client lock-in. View the complete contents and sample extracts at www.marketing-designers.com.
Shaun Crowley has worked as a freelance copywriter and marketing consultant. He currently works as a communications manager for a major UK publishing company and is the author of The Freelance Designer's Self-Marketing Handbook and 100 Copywriting Tips for Designers and Other Freelance Artists.
Copyright (c) 2007 Shaun Crowley Publications
The following article offers tips for contacting prospective clients in the marketing communications sector.
Define your prospective clients.
There is a saying in direct marketing that 80% of your business comes from 20% of your list. This is very likely to be true for your business too.
Only 20% of the companies in your area are likely to offer a good return on your marketing efforts. We can term these clients as ‘high-status’ contacts.
80% of the companies in your area are not likely to offer a good return on your marketing efforts. We can term these clients as ‘low-status’ contacts.
The time you spend pitching to prospective clients should be proportional to the status they fall into. As a rough rule, spend 20% of your time marketing your services to low-status contacts, and 80% of your time marketing to high-status contacts.
So how do we define high-status and low-status contacts in the marketing sector?
High-status contacts
High-status contacts are simply clients likely to give you on-going or lucrative work.
In the main, we’re talking about people working in big companies. More specifically, promotional coordinators and marketing managers in sales and marketing departments.
These contacts offer the best return on your marketing efforts because they have bigger budgets (which means more lucrative assignments), they have more numerous on-going projects, they are more likely to rely on freelancers, they might recommend you to other departments, and they are likely to move around within the industry, taking their contacts with them.
High-status contacts may also be managers of smaller businesses, whose design needs relate to your particular area of expertise-maybe because you have substantial experience designing within their industry sector.
High-status contacts require personalized marketing contact. Focus your energy on getting meeting time with them. Stay visible; mail them, call them now and again, and send emails once a month to remind them you’re out there.
Low-status contacts
Low-status contacts are either people who rarely call upon freelance designers, or people who only call upon freelance designers for small-scale ad-hoc items. It is therefore unlikely they will offer lucrative or on-going work.
Low-status contacts are likely to be general managers or marketing managers of small-to-medium-size businesses with small promotional budgets. Since they don’t produce a constant stream of promotional materials, it’s not worth focussing your marketing efforts on substantial personalized contact.
The exceptions would be existing clients or contacts who may call on you as their ‘designer of choice’, maybe because you provide a specialist service (as mentioned above).
You shouldn’t neglect low-status contacts because they make up such a large section of your potential client-base. Sure, only a tiny percentage of low-status contacts will offer a good return on your marketing efforts. But even if just 1% of low-status contacts offer on-going or lucrative design work, that 1% is a large enough list of prospective clients to make a real difference to your bottom line.
Target low-status contacts with an email or mailing campaign.
It’s not worth personalizing your contact with such a large section of low-priority contacts. Instead, look for ways of reaching these people on-mass.
You can do this by buying a data-list of low-status contacts, and emailing or snail-mailing the people on the list. In my forthcoming book "The Freelance Designer's Self-Marketing Handbook" I'll show you how to buy a data-list, how to set up a direct mail campaign, and how to write your email or DM letter.
Set up a database of high-status contacts.
High-status contacts require lots of personalized contact. But first you have to find them and gather their details.
Search engines are the simplest way of looking for high-status contacts. Simply type in “Marketing department” followed by your region, and look for contact names, email addresses, and telephone numbers of likely high-status marketing contacts working within big corporations.
It’s a good idea to build yourself a database of high-status contacts, and to keep it regularly updated by adding new contacts on a weekly basis.
A database allows you to update all your marketing activities, so you can see who you contacted, when you contacted them, and what their response was. It’s an essential organizational tool.
To set up your database spreadsheet, allow columns for company name, company description, contact name, contact position, address, telephone number, email address, website address, low-status/high-status (we’ll discuss the reasons for including this later), and update notes.
Spend as much time as you can Googling businesses and searching their ‘Contact Us’ pages, entering new high-status contacts into your spreadsheet as you go. Your aim is to have hundreds of contacts on your database. The law of averages dictates that around 5% of these will make promising leads.
Phone then email.
The standard strategy for contacting prospective clients is to phone first, then follow up with reminder emails. There are two reasons why it’s advisable to contact people in this order.
Firstly, in an age when spamming is an increasing problem, a lot of people only trust emails from known contacts. To become a “known contact” you need to introduce yourself either face-to-face or on the telephone.
Secondly, talking to contacts on the phone gives you a chance to ask what kind of design needs they have. You can record everything in the company description column of your database, so when you email the contact later, you can tailor your message to the specific needs of the contact. You can also include relevant links to your online portfolio, making your design offer more targeted to the individual.
When you have phoned a contact on your database, make sure you keep your update notes column up-to-date. Include the date you contacted, degree of interest in your offer, and when next to contact.
In some instances, a telephone conversation will reveal that the contact isn’t really high-status at all, but for some reason or other, falls into the low-status category. Rather than delete the contact from your database, just tag the contact as low-status for your own reference—you’ve gone to the trouble of calling, so a quick email now and again won’t be a waste of time. (That’s why it’s a good idea to include a high-status/low-status column in your database, as advised above.)
(My forthcoming book "The Freelance Designer's Self-Marketing Handbook" includes a section on Telephone and Email Prospecting with tips and examples for effective cold-calling and follow-up email writing.)
Snail-mail then phone.
Cold-calling people can be a daunting experience. It is especially daunting if you’re calling really high-status contacts; when the stakes are high and one call can make a profound difference to your freelancing job opportunities.
In these cases, sending a teaser mailer through snail-mail a week before you call will help to break the ice, so when the contact picks up the phone, he/she already knows who you are.
Your teaser mailer could be a postcard with a thought-provoking line, a provocative question, or something else to arouse the recipient’s curiosity. For example: the front side of your mailer could read:
Heard the news?...
and the back could read:
…there’s a new freelance publicity designer in town
Then a short message at the bottom to introduce yourself:
Jon Woo— freelance publicity designer. www.callmewoo.com.
The secret of a good teaser mailer is to grab the recipient’s attention. You’re not trying to say everything about you and your service. Save that for your follow-up phone call. You’re simply gaining exposure by communicating your name and the core aspect of your design offer in a memorable way.
For example, one teaser I recently received from a touting freelancer was a Heinz tin-can, labelled “Double-concentrated talent”. The tin-can contained pureed tomato—the fact I tried to open the can reflects how successfully it caught my attention.
(In fact, I was so impressed by the self-promotion of this designer, I made it my mission to give him a graphic design assignment.)
The above article is adapted from my new book The Freelance Designer's Self-Marketing Handbook, available for download at www.marketing-designers.com.
The Freelance Designer's Self-Marketing Handbook includes additional chapters on telephone and email propsecting, setting up an Email campaign targeting data-list contacts, writing a self-promotion website, getting exposure in the newspapers, and creating client lock-in. View the complete contents and sample extracts at www.marketing-designers.com.
Shaun Crowley has worked as a freelance copywriter and marketing consultant. He currently works as a communications manager for a major UK publishing company and is the author of The Freelance Designer's Self-Marketing Handbook and 100 Copywriting Tips for Designers and Other Freelance Artists.
Copyright (c) 2007 Shaun Crowley Publications
Sunday, 2 December 2007
Freelance Designers: How to crack the search engines
You’ve set up your online portfolio. Now you can direct potential clients to your website when you contact them.
But wouldn’t it be great if new clients contacted you?
In the following article I’ll show you how to conquer the search engines so prospective clients can find you online. We’ll look at four core areas: Choosing your keywords, Making the content of your website Googlable, Fulfilling the needs of browsers, and Getting other sites to link to you.
1. How to choose your keywords
By far the best tool for researching keywords is Wordtracker. You can pay for access per week ($26), per month ($52), or per year ($260). It’s worth taking as much time as you can afford.
Amongst other things, Wordtracker allows you to type in words and presents you with an extensive list of connected keyword phrases with ratings. Ratings are based on the popularity of the keywords compared to the number of other websites competing for them. You’ll find that keyword phrases have better ratings than single keywords.
The Google Keyword Tool is also useful, (and free), though popularity/competition results are presented as rather ambiguous bar charts and not concrete percentages. My advice is to start with this tool, then take out a week's usage of Wordtracker when your site is well established.
There are three obvious groups you could focus your keyword searches on:
- your specialism (graphic design, web-design, animated web design, etc)
- the sector you work in (marketing & advertising, publishing, products & packaging, etc)
- the area you cover (Los Angeles, Toronto, London, etc).
Also look for particular search phrases that target browsers might use, such as “Looking for”, “Search”, “Find”, “For hire”, and “Freelancer”.
You can also research keywords by checking the source code of well-ranked competing websites. If certain keywords are working for them there’s a good chance they’ll work for you too.
Make sure your page title contains a relevant keyword phrase. Your page title is the descriptive line that appears when your website appears in a Google search. It's the line browsers rely on to judge the appropriacy of your site.
Try to get keywords into your URLs, e.g. www.callmewoo.com/designer_aspen. Keywords in URLs contribute considerably towards search engine ranking.
Search engines also use description tags to gauge the relevancy of websites. Your description should be riddled with good keywords.
Search engines no longer rate sites based on meta tags. Instead they look for keywords in the page title, URL, description tag, and the main body of the site.
But it’s a good idea to add meta tags--it’s likely Google use them to compare your site to others linking to you, the benefits of which we’ll discuss later.
2. How to make the content of your site Googlable
Research shows that browsers use text to evaluate a site, not images. So even though you are promoting yourself as a graphic designer, it’s the words that will reach out to new visitors ahead of your graphics.
The amount of text on your site is important. The more text you have, the more keywords there will be, and the more opportunities you’ll have to replace low-value phases with good keyword phrases.
Include keywords in prominent positions throughout your text. I prefer to write my text first then head-up sections of text with good keyword phrases. Search engines like headlines.
Group your keywords by setting up multiple website pages, each with a slightly different focus. Do this by categorizing your portfolio.
So for example, one page of your portfolio could focus on your brochure designs using keywords in your introduction copy such as: ‘direct selling promotional material’, ‘brochure’, printed publicity’, ‘corporate literature’ ‘freelance’, ‘design’, ‘designer’, ‘search’.
Another page could present samples of your book designs. Here, your introduction copy could include keywords such as ‘publishing’, ‘covers’, ‘childrens books’, ‘text books’, ‘layout’, ‘design’, ‘freelance’, ‘designer’, ‘search’.
So if a client looking for a children’s book designer typed in ‘children + design + freelance’, the relevant page of your portfolio will be ranked above your website home-page. This enables browsers to go straight to the page that is most relevant to them.
You can set up other pages to focus on specific types of keyword searches--maybe a page that focuses on the geographical region you cover. If you don’t cover one single region, maybe a page that introduces the ‘international’ aspect of your service. Or indeed, any other service you offer.
3. How to fulfill the needs of browsers
Offer something free. Roughly 75% of prospective clients searching for design-related topics are looking for something free to get a job done-–not necessarily to hire you.
You need to lure them towards your freelance offer. Give them something they can use so they remember you. When they really do need a freelance designer they’ve already remembered your URL.
There are a variety of things you can offer.
You can write free tutorials and self-help articles (like “how to brief a designer”, “how to get the most out of your graphic designer”, “What every client needs to know about their designer”). This presents you as a clever and competent designer.
You can offer free photos, graphics, illustrations, or visuals. Anything that your target browsers can download and make use of, and that demonstrates the strengths of your work at the same time.
You can offer free design consultation. You could promise to answer design-related questions within a designated time (e.g. browsers type in a question and submit their email address). Again, this helps to present you as a design expert. It also gives you access to potential clients’ email addresses, a very useful thing to have.
By doing any of the above, you are increasing the different keyword avenues browsers can take to reach your site. So in addition to the keywords on your portfolio pages, you also have pages with keywords such as ‘free tutorial’, ‘free royalty free images’, or ‘instant design advice’. These types of keywords are likely to be searched on a daily basis.
4. How to get other sites to link to you
Tailoring the content of your site is one aspect of Search Engine Optimization, but it’s not the priority. The ‘popularity’ of your site is the highest contributor to your ranking.
Popularity is based on the number and quality of websites linking to you.
The quality of a link is determined by its search engine ranking and by its relevancy to your website, something that is judged by the similarity of your keywords.
This means that ten links from small unconnected websites, such as local traders, are likely to be less useful that one link from a popular design-focussed website.
Start a blog. Blogging is perhaps the easiest way to pull potential clients towards your relevant portfolio pages and elevate your Google presence.
Blogs have two advantages. Firstly, they are linked to millions of websites, so usually have good Google rankings (which means they are quality incoming links).
Secondly, they offer you an easy way to submit new material, so you can be spontaneous and timely. For example, you could use your blog to review the week’s newspaper advert designs. This would appeal to marketeers (potential clients in the marketing sector), and presents you as a knowledgeable design commentator--someone worth hiring for the next big advertising campaign!
Commenting on other people's blogs, and adding links to your website, is an easy way of increasing traffic to your site and improving your search engine ranking--especially if you comment on popular blogs.
Promote your website as a resource. Having an armory of visuals or articles is important for obtaining good quality incoming links.
Lots of top-ranking websites have ‘Resources’ or ‘Useful links’ sections. You need to be in there. So write up a description of your resources and send to the web editors of high-ranking sites. Try to include your main keywords within your link description copy, so meta-crawlers identify it as a ‘good link’.
Send out articles. Be a featured writer on a website that prospective clients hit on every day. You’ll not only get quality links to your site, you’ll also get your name out as an expert in your field.
Your articles can be adapted from your website or your blog entries. Just make sure they are useful and informative, leaving your website address and service description for your bio at the end of the article. Be sure to add a ‘call to action’ line at the end of your bio, persuaded interested readers to contact you (e.g. “Need a fresh new look? Ask about my design services. Email jon@callmewoo.com”.)
Next week we'll take a look at e-self-marketing, with tips on how to to boost your freelancing job opportunities by emailing prospective clients.
The above article is adapted from my new book The Freelance Designer's Self-Marketing Handbook, available for download at marketing-designers.com
Shaun Crowley has worked as a freelance copywriter and marketing consultant. He currently works as a communications manager for a major UK publishing company and is the author of The Freelance Designer's Self-Marketing Handbook and 100 Copywriting Tips for Designers and Other Freelance Artists.
Copyright (c) 2007 Shaun Crowley Publications
But wouldn’t it be great if new clients contacted you?
In the following article I’ll show you how to conquer the search engines so prospective clients can find you online. We’ll look at four core areas: Choosing your keywords, Making the content of your website Googlable, Fulfilling the needs of browsers, and Getting other sites to link to you.
1. How to choose your keywords
By far the best tool for researching keywords is Wordtracker. You can pay for access per week ($26), per month ($52), or per year ($260). It’s worth taking as much time as you can afford.
Amongst other things, Wordtracker allows you to type in words and presents you with an extensive list of connected keyword phrases with ratings. Ratings are based on the popularity of the keywords compared to the number of other websites competing for them. You’ll find that keyword phrases have better ratings than single keywords.
The Google Keyword Tool is also useful, (and free), though popularity/competition results are presented as rather ambiguous bar charts and not concrete percentages. My advice is to start with this tool, then take out a week's usage of Wordtracker when your site is well established.
There are three obvious groups you could focus your keyword searches on:
- your specialism (graphic design, web-design, animated web design, etc)
- the sector you work in (marketing & advertising, publishing, products & packaging, etc)
- the area you cover (Los Angeles, Toronto, London, etc).
Also look for particular search phrases that target browsers might use, such as “Looking for”, “Search”, “Find”, “For hire”, and “Freelancer”.
You can also research keywords by checking the source code of well-ranked competing websites. If certain keywords are working for them there’s a good chance they’ll work for you too.
Make sure your page title contains a relevant keyword phrase. Your page title is the descriptive line that appears when your website appears in a Google search. It's the line browsers rely on to judge the appropriacy of your site.
Try to get keywords into your URLs, e.g. www.callmewoo.com/designer_aspen. Keywords in URLs contribute considerably towards search engine ranking.
Search engines also use description tags to gauge the relevancy of websites. Your description should be riddled with good keywords.
Search engines no longer rate sites based on meta tags. Instead they look for keywords in the page title, URL, description tag, and the main body of the site.
But it’s a good idea to add meta tags--it’s likely Google use them to compare your site to others linking to you, the benefits of which we’ll discuss later.
2. How to make the content of your site Googlable
Research shows that browsers use text to evaluate a site, not images. So even though you are promoting yourself as a graphic designer, it’s the words that will reach out to new visitors ahead of your graphics.
The amount of text on your site is important. The more text you have, the more keywords there will be, and the more opportunities you’ll have to replace low-value phases with good keyword phrases.
Include keywords in prominent positions throughout your text. I prefer to write my text first then head-up sections of text with good keyword phrases. Search engines like headlines.
Group your keywords by setting up multiple website pages, each with a slightly different focus. Do this by categorizing your portfolio.
So for example, one page of your portfolio could focus on your brochure designs using keywords in your introduction copy such as: ‘direct selling promotional material’, ‘brochure’, printed publicity’, ‘corporate literature’ ‘freelance’, ‘design’, ‘designer’, ‘search’.
Another page could present samples of your book designs. Here, your introduction copy could include keywords such as ‘publishing’, ‘covers’, ‘childrens books’, ‘text books’, ‘layout’, ‘design’, ‘freelance’, ‘designer’, ‘search’.
So if a client looking for a children’s book designer typed in ‘children + design + freelance’, the relevant page of your portfolio will be ranked above your website home-page. This enables browsers to go straight to the page that is most relevant to them.
You can set up other pages to focus on specific types of keyword searches--maybe a page that focuses on the geographical region you cover. If you don’t cover one single region, maybe a page that introduces the ‘international’ aspect of your service. Or indeed, any other service you offer.
3. How to fulfill the needs of browsers
Offer something free. Roughly 75% of prospective clients searching for design-related topics are looking for something free to get a job done-–not necessarily to hire you.
You need to lure them towards your freelance offer. Give them something they can use so they remember you. When they really do need a freelance designer they’ve already remembered your URL.
There are a variety of things you can offer.
You can write free tutorials and self-help articles (like “how to brief a designer”, “how to get the most out of your graphic designer”, “What every client needs to know about their designer”). This presents you as a clever and competent designer.
You can offer free photos, graphics, illustrations, or visuals. Anything that your target browsers can download and make use of, and that demonstrates the strengths of your work at the same time.
You can offer free design consultation. You could promise to answer design-related questions within a designated time (e.g. browsers type in a question and submit their email address). Again, this helps to present you as a design expert. It also gives you access to potential clients’ email addresses, a very useful thing to have.
By doing any of the above, you are increasing the different keyword avenues browsers can take to reach your site. So in addition to the keywords on your portfolio pages, you also have pages with keywords such as ‘free tutorial’, ‘free royalty free images’, or ‘instant design advice’. These types of keywords are likely to be searched on a daily basis.
4. How to get other sites to link to you
Tailoring the content of your site is one aspect of Search Engine Optimization, but it’s not the priority. The ‘popularity’ of your site is the highest contributor to your ranking.
Popularity is based on the number and quality of websites linking to you.
The quality of a link is determined by its search engine ranking and by its relevancy to your website, something that is judged by the similarity of your keywords.
This means that ten links from small unconnected websites, such as local traders, are likely to be less useful that one link from a popular design-focussed website.
Start a blog. Blogging is perhaps the easiest way to pull potential clients towards your relevant portfolio pages and elevate your Google presence.
Blogs have two advantages. Firstly, they are linked to millions of websites, so usually have good Google rankings (which means they are quality incoming links).
Secondly, they offer you an easy way to submit new material, so you can be spontaneous and timely. For example, you could use your blog to review the week’s newspaper advert designs. This would appeal to marketeers (potential clients in the marketing sector), and presents you as a knowledgeable design commentator--someone worth hiring for the next big advertising campaign!
Commenting on other people's blogs, and adding links to your website, is an easy way of increasing traffic to your site and improving your search engine ranking--especially if you comment on popular blogs.
Promote your website as a resource. Having an armory of visuals or articles is important for obtaining good quality incoming links.
Lots of top-ranking websites have ‘Resources’ or ‘Useful links’ sections. You need to be in there. So write up a description of your resources and send to the web editors of high-ranking sites. Try to include your main keywords within your link description copy, so meta-crawlers identify it as a ‘good link’.
Send out articles. Be a featured writer on a website that prospective clients hit on every day. You’ll not only get quality links to your site, you’ll also get your name out as an expert in your field.
Your articles can be adapted from your website or your blog entries. Just make sure they are useful and informative, leaving your website address and service description for your bio at the end of the article. Be sure to add a ‘call to action’ line at the end of your bio, persuaded interested readers to contact you (e.g. “Need a fresh new look? Ask about my design services. Email jon@callmewoo.com”.)
Next week we'll take a look at e-self-marketing, with tips on how to to boost your freelancing job opportunities by emailing prospective clients.
The above article is adapted from my new book The Freelance Designer's Self-Marketing Handbook, available for download at marketing-designers.com
Shaun Crowley has worked as a freelance copywriter and marketing consultant. He currently works as a communications manager for a major UK publishing company and is the author of The Freelance Designer's Self-Marketing Handbook and 100 Copywriting Tips for Designers and Other Freelance Artists.
Copyright (c) 2007 Shaun Crowley Publications
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