Yeah, I hadn't either. I came across an article back in early 2000s explaining synaesthesia. Boy was I surprised that not everyone experienced colors and textures and whatnot when they thought of letters. "You know, M is blue and shiny, K is red and rough…?" I got some strange looks when I started talking about it. Turns out, scientists have known about it for a really long time, but it fell out of common knowledge. (If you're curious and want to learn more, I recommend a book called Wednesday is Indigo Blue as a good technical starting place.)
Turns out that for synaesthetes (people who experience synaesthesia), it's very common to have more than one kind. I have grapheme → color + texture + location (+ personality but just for numbers, go figure). It means I perceive colors and textures with each letter. As do days of the week, and months of the year. And they all have a spacial location in my mind's eye. I hadn't met anyone else with synaesthesia until the spring of 2011.
Back in 2011, as a HOW Design speaker I was also asked to review portfolios. I know I looked at several people's work, but I can't remember any. Just Rebekah Paulovich, and her work involving her own form of synaesthesia. Rebekah is also a synaesthete; she sees sound. Technically, it's sound → color + shape synaesthesia, but she has several kinds. Her work still blows my mind!
Rebekah is an amazing artist (seriously if you didn't click on that link up there, do it now, I'll wait), and since 2011 I had sent her a few messages asking how that project was coming along. She sent a message letting me know she was also in Boston for this year's HOW. We crossed paths on the same day that I pitched my coaching to 3,000 designers from HOW's main stage. She literally found me in a hallway full of people — again, how serendipitous, as with all things HOW-related — and we left to grab a coffee and catch up.
On the way to coffee, Rebekah told me an incredibly inspiring story of her life during the past 7 years since I'd seen her. (Her story is seriously amazing, and will come later, I promise.) Oh, and with true HOW serendipitous magic, the total for our coffee was $4.26 — not only her birthday, but also the birthday of the guy who rang us up!
One of the delightful outcomes of the coffee meetup…?
Rebekah and I agreed to do a book together, a book showcasing our illustrated synaesthesia alphabets! Eeeee! It's hard to convey just how excited I am!
Here's a sneak peek at the very beginnings of my piece of this super cool project. Curious? Good!
Because both our alphabets are also spacial in nature, this has the potential to be a VERY different kind of book. Rebekah's alphabet appears in her mind's eye as a stepped series moving from upper left to lower right. Mine is all around me, as if I was standing inside a typewriter ball in an old Selectric typewriter. We'll see how well each translates to a 2-dimensional plane.
There's loads more teasing to come as our book unfolds — literally! Ha!
Thanks for reading! Good juju to you! =)
In my last post I talked about my spur-of-the-moment pitch onstage at HOW. Here's what it looked like from the audience.
What do you think? After hearing this, would you "buy what I'm selling"?
Thank you Julie Goldsberry for capturing the moment!
Thanks to Ally for catching this one from the front row.
Here's a link to the spark session in its entirety. I come in at about the 15-minute mark.
I feel like I'm still catching up with myself. But big—really big, scary, fun, amazing—things are in the works. Stay tuned.
Thanks for reading. Good juju to you! =)
Back in early 1994, I was very new to the corporate environment. I worked with a woman who requested to go to a conference in her industry. I didn't even know such a thing was possible! I thought, if she can go to a conference — why can't I? I somehow found and got approval to attend the HOW Design Conference in May of 1994.
I had no idea what to expect. I was only 3 years out of school, having received my BFA in graphic design/illustration in 1991. I met David Carson, Kit Hinrichs, McRay Magleby, Charles Anderson, and the like. I had no idea who they were! My education focused on art history, not design history, so I didn't recognize their names or their faces.
Another name I had never heard of was Gordon MacKenzie, the closing keynote speaker. Back then, we sat at round tables and were actually served lunch at the closing keynote! This was before Gordon wrote Orbiting the Giant Hairball (which I strongly recommend you read, if you haven't already), and his session was called "Achieving and Maintaining Creativity Within a Bureaucracy." ("Orbiting the Giant Hairball" is a better title, don't you think?) There weren't any slides in this talk. Behind him on stage were instead sixteen numbered posters with curious little drawings on them. He told us he had tried unsuccessfully to put them into some kind of sequential order, and asked us to just call out the numbers of the drawings that interested us, so he could tell us that story. When he was finished with each story, he'd say, "Next number." These stories became part his Orbiting book as chapters.
Several stories in and I fell in love… with the format, with the stories, with the unique, vulnerable, amazing human being up on stage. I decided I'd call out a number… "Thirteen!" Card number thirteen had the word "courage" on it. (Being a Leo, that word came up often for me; I have always been drawn to the word.)
Unlike the other stories, this time he said, "Who said number thirteen?" My face reddened, and slowly, I raised my hand. He pulled an envelope off the back of card number thirteen, came down from the stage, and made his way through the hundreds (thousands?) of designers, toward me. My heart raced, my mouth dried up, all eyes were on either me or Gordon. When he finally reached me, he opened the envelope, pulled out a $50 bill and handed it to me.
"Never be afraid to single yourself out again."
My eyes bulged, my jaw dropped. I didn't know what to think, or what to say.
After the stories were finished, I stormed the podium. I can't remember what exactly Gordon and I said to each other, but we ended up crying and laughing and hugging — we bonded. This changed my life. (I'd like to tell you that it happened overnight; it didn't.) I still have that $50 bill.
Fast-forward to this year's HOW Design Live — also in Boston, also in May. Tuesday afternoon's Spark was session with Marta Stiglin was called "Shameless Self-Promotion." She had us pair up and practice our pitches with each other. When we "bought" what our partner was pitching, we were instructed to stand up. I've been working with my business coach on perfecting mine, so I felt I was pretty ready; my pitch partner stood up right away. Then Marta asked for a volunteer to pitch to the entire audience.
I think I channeled Gordon for a few seconds there, because my hand shot up and "Meee!" came out of my mouth (at least I think that's what I shouted). I think I was as stunned as the people around me. Marta chose me and I sprinted toward the stage. I'd never pitched to an audience of 3,000 people before! Surprisingly, I wasn't nervous, but I was seriously out of breath (I don't run — ever)! Marta told the audience to hold up their phone flashlights when they "bought" what I was pitching. There was a moment of slight panic after my first pitch — there were no lights! No one "bought" it. And again, as if channeling Gordon, I started over. I said the same thing, but in plainer language. From my heart instead of my head. Suddenly there were hundreds of lights shining my way. I was SO inspired!
Sure, HOW is a place for creatives to connect. It's a place where mind-boggling coincidences and beautiful serendipity happens every year. It's also a safe place, where you can find your family, where you can single yourself out and not fear ridicule. Like how we feel about family, it's a place where we feel the most belonging, that also exists in our hearts long after the conference ends.
After that first conference in 1994, I came back on fire, knowing that I was now part of a larger supportive community, ready to design the world! I feel the same way after every HOW conference, including this year. So don't be afraid to single yourself out — especially not at HOW. You never know what might happen!
Thanks for reading. Good juju to you!
Ok, not really summer camp. I'm off to the HOW Design Conference, this year in Boston. I try to go every year. Thankfully, now that I'm a HOW Ambassador, it's been every year for a while. The first one I attended (back in 1994!) changed my life, lit me on fire. I had no idea what I didn't know!
Every year I meet up with my extended family, my HOW family. We're all in design-related fields, and we all get it. We're birds of a feather! There's a lot of hugs, lots of laughter, and yes, even a few serious conversations about what we can do as designers to change the world for the better. Yeah, we're those kinds of people.
I know that the only things I'm responsible for—truly in control of—are my words and my actions. That's all I have to make waves in the world. And in my circle of influence, which is about a five-foot radius around me, I want to have as many people as I can, spreading as much good juju as I can, so that the ripples of positivity and love go farther and do more. Attending HOW makes it super easy. Being a HOW Ambassador makes it super fun.
I'll tell you all about it when I get back. I hope to see you there! =)
You've probably asked, "How do I find the right clients?" I've asked myself this same question a hundred times.
This past weekend I had an epiphany. It's so simple, but I realized that not everyone knows this.
The question, "How do I find the right clients?" is NOT the question you should be asking. Not at first, anyway. Because having success with your freelance business is rarely just about finding the right clients.
Announcing that "finding the right client" is the only thing your business needs for success is like deciding to buy a house without doing your research. Then just driving along, seeing a pretty house, and deciding that's the one without knowing the really important answers… Like the asking price… Like what shape the foundation is in… Like what the neighborhood is like, school district, average utility bills, annual taxes… You get the idea.
I'm convinced it's about everything BUT finding the right clients.
There are so many things that must be in place before you even think about getting in front of the right client. Things like figuring out who exactly that ideal client is and, more importantly, why you think they're ideal… Like what specific problems or pain points you're solving for them… Like charging what you're actually worth, and being able to educate your clients on the value you bring to the table… Like presenting yourself as the expert you are, in person and across your entire online footprint… Like having a solid brand that not only reflects you and working with you, but that speaks to and attracts more ideal clients…
Here are some examples of what I'm talking about…
Let's say you're a photographer who's willing to photograph anyone with a budget, but really loves product photography. You continually accept work that doesn't thrill you, and therefore shows in your photos… they're good, just not amazing. You finally get in front of someone who needs product photography, and instead of showing the amazing work you love to do, you spend most of your time explaining why your portfolio shows weddings, sports and senior photos. Your ideal client has dismissed the idea of working with you.
Let's say you're a writer who is an expert at disseminating complex information into marketing copy, and you even have some samples to show. You finally get in front of what you think of as your ideal client, but you struggle to explain clearly why you and this client are a perfect match. Your ideal client has dismissed the idea of working with you.
Let's say you're a web developer who can create amazing websites that get results. You meet someone at a networking event that fits your ideal client profile. You try to make them understand that they really need to hire you to refresh their outdated website, but they balk at your price, convinced they shouldn't pay that much. You feel defensive when you explain your pricing and it shows your lack of confidence in what you charge. Your ideal client has dismissed the idea of working with you.
Let's say you're a graphic designer who can design circles around the other designers you know. You get wind of a client you know needs you and can afford you. But when you meet in person, your confidence comes across as arrogance. Your ideal client has dismissed the idea of working with you.
See what I mean?
Yes, getting in front of the right people should, indeed, be your goal—but just one goal along with getting all the other things in place first.
Your success is about everything else AND THEN finding the right clients.
I know what it's like to struggle with this very issue. I've had to learn it the hard way (like all things, grrrr). That's where I come in; I help you learn the easy way, so you can grow the successful freelance business you want.
Let me know when you're ready to start--I'm here for you!
Thanks for reading! Good juju to you! =)
Well, speaking of connection, my phone crashed and died this weekend. Poor thing, three years old and worked hard from day one! It just kept restarting. Wandering forever in a startup loop. I know I've felt that way before. Have you?
The replacement phone is scheduled to arrive Tuesday (thankfully I've got full coverage on my phone), and I'm feeling a bit out of sync and unconnected. How will I ever get all my contacts re-entered if they weren't backed up? I'll find out soon.
Offline, I did organize my recipes (finally), so there's a plus side to not going through my usual morning routine of playing Boggle online while I finish my chai latte. I'm wondering what other things I could accomplish if I bust out of my usual routine.
On a client-management-related note, I think I finally got through to my client today. The changes Mary* requested were precise design changes that unfortunately didn't help the design at all (she's not a designer). At first, I was so frustrated with her changes, I started to write an email explaining each of my design decisions. Then I remembered to put myself firmly into Mary's shoes. Her objective is the same as mine—to make the project awesome. So I wrote her a note to remind her of the big picture instead…
"If you give me specific art direction changes instead of the 'why' involved with what you want changed, I’m stuck between doing exactly what you’ve asked, or doing what looks and reads best."
I asked Mary to look over my changes and let me know if she felt the changes were still necessary. If she had still requested her changes, I would have done them. But at least she knows she can trust me to do what's best for the project, and that there's not a big ego involved. I think we've connected more firmly because of my push back. I'm not just an order taker—I'm her partner in making her projects awesome!
She actually apologized (not my intention, but welcome nonetheless) and agreed to give me her reasons for her changes and let me decide how best to get the project there.
So win-win. Except for my poor old phone.
Thanks for reading. Good juju to you! =)
*Of course that's not her real name.
Last week I was asked to speak to the Kansas City chapter of the ASMP, along with Jason Dailey, The Freelance Exchange's vice president. The talk was mainly about benefits of joining, but in explaining the value of the group, the discussion went much deeper into what we, as humans need at a base level and are lacking by spending so much time glued to our electronic devices.
Networking (I originally typed newtworking… ha! That's something completely different!) doesn't have to be seen as negative. How many times have you heard that networking is crucial to your career? Of course it is! How many times have you really worked your network in the past year? I thought so. Networking is really about connection. Making real and honest connections with other fellow humans. That's it. But, if it's still kind of *bleh* in your head, let's appease the left brain by analyzing word network.
noun—an open meshed fabric used to contain
adjective—what remains after deductions
View your friends, peers, and acquaintances as your open-meshed fabric—your safety net—with each strand representing an individual. The knots are the connections you’ve cultivated with them. Your network contains your friends, peers and acquaintances. To grow your business, you can tap the connections in your net. If you lose everything, what remains is your network. If you need a resource (job-related or otherwise), you reach out to your net.
noun—exertion, effort directed to produce something
verb—to do work; to produce something
You can’t have a network without the work part of it. You just can’t need something and have it magically appear. Yes, it takes effort, but that effort can be fun when you’ve made real connections with people.
noun—an association of individuals having a common interest, formed to provide mutual assistance, helpful information, etc.
With every new person you meet in the industry, try to make a genuine connection—not just asking about occupation, and in what city they live. Ask what they really enjoy about their current role, what they like helping people with, what they're interests are outside of a "job." If you really connect, you will remember each person individually. If time doesn’t permit a lengthy connection, jot down on their business card “loves cars,” or “collects shoes,” “really into sports.” Anything—even if it’s “shared Lyft to airport”—that helps you remember the individual and the connection you've made.
After the birth of our first child, I had the luxury to quit my full-time job and only do 5-10 hours of freelance work per week. Then my husband lost his job when I was expecting our second child less than two years later, and it was necessary for me to support the family (and pay for our cobra insurance—yikes!) while he job-hunted. I sent out a call for help to my network for freelance work. Any work. Nothing was too menial.
What happened? I got work. I got a lot of work. I went from working 5-10 hours a week to 30-40 hours a week. We made it six months on just my freelance work, thanks to my network!! And my husband got a job just a few days before our second child was born. Whew!
See, it's about making connections that can benefit you down the road. So when you see the word networking, replace it with connecting and you'll feel the difference. And probably attend more networking events!
“We human beings are social beings.
We come into the world as the result of others’ actions. We survive here in dependence on others. Whether we like it or not, there is hardly a moment of our lives when we do not benefit from others’ activities. For this reason, it is hardly surprising that most of our happiness arises in the context of our relationships with others.” --The Dalai Lama
Thanks for reading. Good juju to you! =)
p.s. Just as you can call on your network in times of need, remember to be a support to others as well. How can I help you?
It's so easy to get, be, and stay overwhelmed when you have big goals, big projects, or big ideas. Or even if you just have small goals, projects or ideas. I think I read somewhere that as humans, we can only concentrate on three things simultaneously. (I'm just mastering one… how the hell do you master three?!) Anyway, if you are overwhelmed, I can help with that!
My to-do list from last week is still pretty big, but because Minette, my business coach, is awesome, she also taught me how to deal with massive to-do lists that don't make me want to crawl under a rock and hide. (Ok, well, most of the time.) Her suggestion is to make a list of six or fewer things that you absolutely commit to doing today, then get just those things done. This is great advice, and you should take it.
But since I'm me, what works best for me is just a little different. What? Do things a little differently? (Yes, my daughter comes by her "option C" tendencies quite naturally.) At the beginning of the week, or when I'm having a mini-meltdown with too much to do and too much to keep track of, I do a complete brain-dump list of what I would like to accomplish. No time frames, no details, just every single little stinking thing. From client-based work and meetings, consulting work, to Freelance Exchange stuff, to household stuff, I dump everything onto that list. This instantly reduces stress levels and frees up my brain to actually work! Then I can categorize the list, or color-code it. (I haven't decided which I like better and from week-to-week I flip-flop.) Then from that list, I make a today-only list of what I commit to getting done today. Crossing stuff off my to-do list is sooooo satisfying!!
If there's something on the list that's been there for a while and isn't getting done, I ask myself, "Why not? What's the freaking hold up?" This is where things get interesting.
Sometimes I can just cross it off as unimportant. Sometimes I have an emotional or mental block that I wasn't even aware of. Asking-for-money-things or posting-video-things fall into this category for me. Then I have to ask if that thing on my list is really something I want to do, or just something I feel obligated to do. If there's fear involved (like posting videos, hello—not-in-my-comfort-zone—what!?), but it moves the needle even just a teeny bit toward my bigger goals, I consciously set aside the fear (remember the giraffe story?) and do it anyway.
So what can you do today that will move the needle just a teeny bit toward your bigger goals?
Do that. Then celebrate that you're that much closer to your goal, and that you didn't give in to fear, and that you accomplished your tasks for the day! Wooohoooo!!!
Thanks for reading. Good juju to you. =)
The word kintsukuroi came up again recently, thanks in part to a post by Sam Harrison (which now I can't find, sorry). Kintsukuroi (also called kintsugi) is the Japanese art of repaired pottery, but it's something more than that. An important something.
These days, would you even consider a broken ceramic bowl worth repairing, let alone consider it more beautiful for having been broken? Probably not. No, of course not.
But slow down a minute. Consider the bowl, made by hand with maleable clay and fired to a couple thousand degrees, forever altering its molecular structure. The bowl's creator strived to create perfection.
A handmade object, like a bowl or cup, is revered for the care it took to make it, its beauty, and its purpose. But broken, the object is demoted and loses its honor, so to speak. Repaired, however, can raise the object to a whole new level of appreciation. Not a common idea in western culture.
Some people, more scholarly and patient than I, attribute the origin of the repaired-ceramics artform to story from the mid-1500s. The story goes like this. A great military leader (with a supposedly hot temper) was given a beautiful bowl for an important tea ceremony. Someone dropped the bowl, which broke into five pieces (a more complete essay can be found in Flickwerk, The Aesthetics of Mended Japanese Ceramics, available here). One of the guests spoke up with an improvised poem cleverly linking the name of the giver of the bowl, the style of the bowl, and the five broken pieces, making them all laugh and avoiding the wrath of the hot-headed leader. This specific bowl has since become quite famous, and is considered now an "Important Cultural Property."
This essay goes on to say that instead of the break "…diminishing [the bowl's] appeal, a new sense of its vitality and resilience raised appreciation to even greater heights." The bowl has become more beautiful for having been broken. The true life of the bowl "…began the moment it was dropped…"
"So it is not simply any mended object that increases in its appreciation but… the gap between the vanity of pristine appearance and the fractured manifestation of mortal fate which deepens its appeal."
In other words, the proof of its fragility and its resilience is what makes it beautiful. Like you.
Don't strive for perfection, just be you—cracks, lines, chips and all. You being you is what makes you beautiful.
Thanks for reading, and good juju to you! =)
p.s. I first published this post in January of 2013, but people keep finding my old blog (even though it's not linked anywhere) and leaving lovely comments, so I thought I'd let it live again here. The concept of kintsukuroi isn't as foreign now as it was five years ago. Consider Sugru's success—it wouldn't exist without people wanting to fix their stuff.
I'm so glad I'm not a giraffe (although being the tallest kid in class all throughout grade school, I was called giraffe… I digress. Back to my story about giraffes…). They have a really rough start to life. They’re born while giraffe mommies are standing up — think about that! The first experience they have in life is falling from six feet up, right onto their heads!
From this moment on, they are terrified of falling, unwilling to take any chance they might fall. They won’t walk down an incline of any kind. While giraffes are physically capable of navigating inclines, they’re emotionally crippled with the fear of falling. For this reason, zoos can enclose the giraffe area with a six-foot-deep dry moat. They’re called psychological moats.
For years I was uncomfortable doing just design work. I was more comfortable doing print production since there’s only one way to do it right: so it prints correctly. It started right after college, when I worked designing t-shirts. I would spend weeks on one design, until it was just perfect. I would show my boss who would say (with cheesy finger-guns as I remember it), “Good start — just keep working on it.”
I hated this! In my mind, the work was done, the shirt design was awesome, and I was ready to move on. So then I started designing for what I thought he’d want to see, what I thought he might finally approve of, and not what I knew to be good design. For months this went on until I realized my boss knew very little about design, and this was his standard canned answer.
For years after this, fear of not designing good enough was a psychological moat for me.
Where are your psychological moats? Where have you fallen down—failed so miserably—that you are now unwilling to go there again?
So here's my big question to you: What’s the worst thing that can happen if you try again? You can fall on your head. Well, you already know what that feels like. Not only that — you have already gotten up at least once and kept on going. You’ve already succeeded!
Now, aren't you thankful you're not a giraffe?
Thanks for reading, and good juju to you! =)
It seems the struggle that just keeps popping up for us freelancers is how to find great freelance clients. I've been in your shoes, always hunting for the next project, the next client. It's a big time suck. What if you could find great clients, with regular work, who love working with you, who stick around? Oh yeah!
Let’s figure out exactly who those people are for your business, what it is they need, and where they hang out.
Join me for a free Zoom video conversation this Thursday March 8, 2018 at 1pm CST.
You're a creative and have been asked to create a project for a new client. You pour yourself into the project, you do your research. You explore and exhaust all the possibilities you can think of, and then some. You remember that the process is what you love. You can't control the outcome; that's not your decision anyway—it's the client's.
When the time comes (and probably with equal parts butterflies and fireworks in your gut), you present your creation to your client. It's some of your best work. You're proud. It kinda feels like you’re presenting a piece of yourself. You, right there, on paper, for all to see. "Me, me, me."
But what if your client doesn't like it?! Panic creeps in, you think, "Oh jeez, they hate it. They hate me!"?
Stop right there, buddy.
Shift that mindset right now! You are NOT your designs/photos/words/whatever. That thing you just presented, that's just the physical proof that something magical happened in your head. That's the leftovers, the byproduct of your creativity. Not you.
Do NOT take it personally. (And never, NEVER lose your temper or you'll be remembered as the one who sulked!) Because you're smart, you already informed your clients early on that they can tell you straight-up if they don't like it. If so, you get to work through the process again. Hooray! Good thing you love the process and aren't married to the outcome. You’re smart and creative—figure out how you missed the mark and come up with another solution.
Likewise, if the client LOVES your designs/photos/words/whatever, they’re not saying they love you, just your solution. Remember, you are not what you produce. You are so much more than that!
Thanks for reading. Good juju to you. =)
You made it through school; you've been creating / designing / illustrating / whatever for awhile now; you got into a groove. Great. But now the groove has become too predictable. You find your designs start looking the same. You dread getting out of bed and getting to work. You start your ideas and projects by opening software before you even have a clue what you’re going to do. You go to an old design annual and start from someone else’s idea. You base your color choices on what your client’s favorite colors are! (*cringe*)
Your groove has become too deep—it’s not just a rut, it’s a trench that's now too high to see out of, and it feels like a stinking prison!
Stop and think… What caused you to be here, stuck in such a predicament? Are you afraid of leaving your comfort zone? Do you need a boost of integrity? How about confidence? Are you holding a grudge about something? Or are you just bored?
From here, there are only two directions to go. Either you keep trudging on in your rut, making it deeper by doing what you’ve been doing, getting more of what you have (and you already know what that’s like)—or you stop digging, put down the damned shovel, and get the hell out! It seems like a no-brainer—I mean if you're stuck in a rut, you've got to do something different than what got you there, right? But what?
Try something new, try anything new. Look elsewhere for clients. Start with pencil sketches if you're always jumping on the computer first (be honest, we all do it sometimes). Ask for the kind of work you've always wanted to try, but didn't know how to do (Adobe After Effects, anyone?)—then figure out how to do it! Go talk to the people you've only dreamed of associating with who have the work you want to do.
Look, my point is just start, just do. Don't pause to think or feel, because you can talk yourself out of almost anything that's not comfortable), just do. Once you're in motion, the sky's the limit.
Once you’re free of this rut, you start creating fresh ideas, connecting the dots no one thought of before. You operate with integrity as well as an abundance of confidence. You practically jump out of bed with ideas that you can’t wait to get to work on. You fearlessly try new things. You explore unique ideas with a pencil and paper, or even with mashed potatoes and asparagus, before you ever touch a computer. You trust your color choices and can explain it clearly to your client. Other people start coming to you to help spark their own ideas. You are the powerful, creative force you were meant to be, spreading good juju in everything you do.
What are you waiting for? Let’s get started!
Thanks for reading. Good juju to you!
According to the Freelancers Union's fourth annual Freelancing in America study, 57.3 million Americans are independent workers, and they project independent workers will be a majority of the U.S. workforce in just a decade. I googled the phrase, "finding & keeping clients" and got 124 million results. Yep, confirmation that the subject is top-of-mind for a rapidly growing number of us.
I've been freelancing off and on for more than 25 years, so I can say I've been around the block more than once. Or more than twice. I've had what seems like more than my share of crappy clients. Ones who didn't want to pay what I was worth, wanted projects done literally overnight, or insisted that the design changes they wanted would "make it pop" (insert violent cringe here). I even let one client convince me to create 82 proofs! What was I thinking?!
Since learning the hard way seems to be the only way I learn things, I figured out the hard way how to weed out those crappy clients, find the awesome clients, and how to keep them happy.
Here's my nutshell advice for finding your ideal clients…
Here's my nutshell advice for keeping your ideal clients...
Finding and keep great clients is about solidifying a relationship built on trust. There's no shortcut—it takes time.
But there's more to running a successful freelance business, isn't there? There's just as much internal work as there is getting-dressed-and-doing-stuff work. The internal work takes time, too. We need to get out of our own way, and trust the process. But as creatives, we like to do things our way, by ourselves, and against the grain. I get you—I mean, I am a creative after all. A rebellious one at that.
If you want help growing an awesome freelance business and become your own Freelance CEO, I can help. Just let me know.
That's it for today, thanks for reading. Good juju to you!