What’s the best way to make sure I don’t get stiffed by a client?In delivering top-notch customer service, you may find that it tests your boundaries. You may go the extra mile for a client, but that same client can also wind up trying to take more than you want to give. This is why having boundaries in place is so critical. The right boundaries can prevent you from being treated poorly, and form a foundation to make sure you work efficiently and earn an optimal amount of money.
Certain boundaries may be unspoken rules; in fact, you probably do not want to bring up every possible stipulation you have when you are prospecting. Just because some of your boundaries may not be in writing doesn’t mean they are any less important. What are you willing to deal with—and what are the deal-breakers for you as an individual? You probably expect others to act pleasantly, but some people don’t. What will you do if you encounter a meanie?
Let’s say you are working on a project and included two rounds of revisions. After you go back and forth with the client twice, the project looks good. Then the client wants to make “just a few more” changes. That client seems fairly happy with your work so far, sent your deposit on time, and has been nice, so you don’t see the harm in spending another half hour on a third round of revisions.
What if the revisions take you an hour, and after you submit them to the client, they wants “just a few more?” You’ve already gone beyond the scope of what was outlined in your contract. What can you do? How do you know that if you give more, the client won’t want a fifth round of revisions? How do you cope with the feeling that you are being taken advantage of?
Exhausting yourself in this kind of loop doesn’t mean you deliver exceptional customer service—it means you are letting clients walk all over you!
Establishing boundaries is imperative. I’m not saying be super stingy about offering a third round of revisions if your contract only included two—but if you keep giving your time away, you are making less money, are diverting your attention away from other possibilities, and may eventually feel like a perpetual doormat.
You can spell out certain boundaries (you can dictate how many revisions you will complete before having to bill for additional rounds hourly), but others aren’t so easy to articulate. I do not tell clients, “You better be on time for our conference call or else,” because one would assume being punctual is a given. Even though I have been stood up for phone meetings, I usually give a client a second chance to make it on time. I would definitely rethink the partnership after two missed calls, however, especially when I carve out time in my schedule to be there.
When it comes to your rules and your procedures—that general “how I work” babble—you have to give the client some idea of what they are in for. Specify how and when customers can reach you. Let them know about your editing policy. There are other boundaries that you have to put up as you go because unexpected situations arise.
For example, I worked with a client recently that promised they would gather facts from their client so I could incorporate the details into my copy. When I turned in the first draft, they seemed shocked that details were missing. In response, I politely noted that I hadn’t received information from them that they had agreed to give me. I wasn’t about to spend more time conducting research on information they said they had; it would have taken a few extra hours and my rate would go down. I let the client know politely that I would be happy to add more but would tack on my hourly rate or expand the quote if a request exceeded the scope of work we agreed upon. In being up front, I set the expectations, so if more work is needed, the client knows they will pay additional money for it.
In this situation, I think it paid off because after reviewing my comments, the client was quick to let me know they were sorry they did not include that information in the original scope of work, would pay extra for me to do the research they never did, and they would make sure they had research ready or would inform me if it needed to be done for future projects. It may seem like a small detail, but essentially, I told that client they could not leave out information and then expect me to fill in the gaps as if it were my mistake.
This is what good boundaries do: They protect you and prevent you from doormat-ville.
Do you see why setting boundaries is so important? Whether it is something you have to say to a client from the start of a project, or the way you stick up for yourself if you hit a bump in the road, you will be much happier in the long run if you are clear about what you will and will not accept. I’m not saying fight every possible fight, but do it when you think the situation may happen again, or has in the past. Convey your message clearly and constructively, simply letting the client know what you need going forward.
Boundaries are fantastic, but you don’t want to go rule-happy on your clients—especially hitting them with a ton of rules on possible scenarios that may not apply to them. I have found that giving prospective clients an idea of how you work is a good plan. That way, you set the expectations. This is one way to set limits; we’ll talk about how to stick to your guns in just a bit.
For instance, I outline information on my Web site about how I do business from explaining how I handle consultations and payments to the way I account for editing time. I have an entire page devoted to helping a client understand “what happens next.”
Soon after Sara Robbins-Page launched her jewelry design company, Heavens to Bessie (www.heavenstobessie.com), on a full-time basis, the Maryland-based artisan was approached by a boutique owner who wanted to carry her distinctive line of handcrafted jewelry. “I had never done a wholesale order before but the opportunity for an order of that size and the exposure that the sale would give was simply too good to pass up,” recalls Robbins-Page. Because she had just taken her side business full-time and had never sold her jewelry wholesale, she didn’t have the policies in place for large-scale orders. “I went ahead with the order anyway, sending it off with a simple invoice,” Robbins-Page explains.
As a result of not having a more detailed process and rules in place, it took about seven months to receive a payment. Robbins-Page said she should have communicated those policies to the buyer. “Had I done this, I would have saved myself from a lot of stress and frustration,” she admits.
What’s the best way to make sure I don’t get stiffed by a client?
“Of course, every situation is different. I always require a deposit upfront, usually 50 percent of the total project fee, and it is clearly stated in my contract that this is non-refundable. So no matter what happens down the line, my time and work is at least partially paid for no matter what. After working with many clients over the course of your first few years, you’ll get much better at spotting the red flags of potential nightmare clients.”
—Brian Casel, Web site designer/developer, www.casjam.com
Having a few guidelines in place lays the groundwork to establish, and then enforce, your boundaries. Think about some of these components when you develop your business practices.
→ Scope of work. What, exactly, will a project entail? It may not just be writing, as it is in my case. Often you have to collect information via phone calls and strategize with a team. Ask about these secondary tasks to build time into your quote.
→ Consultations. Will your consultation be over the phone or e-mail? Is it free? During what hours will you accept calls? How much information should a client have handy before they call? What if they need a follow-up consult? Will you charge for that?
When a client calls initially, I don’t really consider that a consult. I’m available via the phone during most business days to respond to quick inquiries. When the client decides they want to use my services and I have a signed contract and deposit in hand, that’s when I want to collect more detailed information on the project via a free consultation. They get one unless they think they will need more, which I build into my price. I state that one consultation is complimentary; for the rest I charge by the hour.
I had a client call me today that wanted me to drive more than an hour away to discuss ideas for his project. I had to let him know that I do not travel on-site to work unless the client has retained me for a project. Boundary—check!
→ Editing/revision process. I let the client know that editing is a normal part of the process and I am here to shepherd them through the development of their content. Sometimes I note that it is possible they will not fall in love with the first draft and it is okay if that happens; I will work with them to get it just right, and they can use the revisions included as a satisfaction guarantee, so to say. Communicating this off the bat has saved me from dealing with overly critical clients that expect complete perfection from the start. Writing is too subjective for most first drafts to be “perfect,” anyway.
→ The contract. Let clients know when you first communicate that you require a signed contract. This will scare off clients that are slow to pay or are not professional, and let viable clients know you mean business. I used to feel timid in bringing up my contract and would mention it after the consultation, but then I felt like I was dropping a bomb on the client. Now I let clients know on my Web site and when we converse initially that I require a signed written agreement prior to starting work. I turn it into a selling point because the contract ensures they receive what I have promised, too.
→ Time line. Even clients that do not require a “rush” seem to want things yesterday. I inform clients that most projects can be turned around within a week, and to contact me to set up a time line. I am also careful to tell them that I do not start on the project until I receive a signed contract and 50-percent deposit. So if it is Monday and I say can get a first draft to them on the following Monday, they need to get that contract and deposit in that day. If I do not receive the deposit and contract until Friday afternoon, they are not getting the first draft Monday. Be clear about your time line, accounting for administrative time, too. Sometimes it takes a few days to receive a signed contract and deposit, so anticipate it into your time line.
→ Deposit. If you want half of the fee upfront, tell your clients about this from the start. Also, let them know when the balance is due. You may want to bring up that balances are due for completed work, as some weasels will try to insist they shouldn’t have to pay if they are not satisfied.
→ Pricing. Every project is different, and you do not always know what variables will come into play until you speak to someone. Wait until after that call to either call back or e-mail with your quote. I collect some details about a project before throwing out a quote or proposal. I never quote directly over the phone because I don’t want to be roped into that price should I find that project will take longer and have to raise my fee.
→ Payment. It is only fair to let a potential or existing client know what types of payment you accept. For me, it is strictly check and PayPal. Whatever type of payment you take, make sure to specify it. If you charge a deposit, make sure to stipulate when the balance of your payment is due.
→ Communication. Specify if you will include information-gathering meetings or calls. Let a client know if you will be reachable by phone or e-mail. Some freelancers give clients unlimited phone support; I prefer to set up a call if need be and let clients know that additional “face time” will cost them. Most respect my honesty because I state it from the start.
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You would think, for example, that a client knows not to call you five times a day or e-mail you on weekends, but that’s not the case. That’s why setting your rules—and then conveying your practices—is vital.
When a client knows that you don’t take business calls after, say, 5 p.m., they probably are not likely to call. If they do and you do not answer, you don’t have to feel bad because it states your business hours on your Web site or in your contract. Although you probably should not spell out how many times a day a client can e-mail or call you, it is important to tell them what the typical process involves so they have an idea of what they can—and can’t—get away with. There are three ways to educate clients about your processes:
1. On your Web site or over e-mail.
2. On the phone.
3. In your contract.
Although the contract is a good place to put a note about revisions or a reference about posting the client’s work in your portfolio, you can’t really cover the full scope of your process in the contract. The rest of the details are better left for your Web site or a phone call, or as issues come up.
We’ve talked about the kinds of boundaries you may want to put in place. Now let’s explore how you should enforce them when you feel a client or colleague getting too close for comfort.
Jay Rogers (www.jayrodesign.com), a Georgia-based designer and illustrator, said he had issues as a beginner because clients always seemed to want more than what they hired him to do.
Rogers recalls a client who wanted to make some complex revisions to backgrounds they previously had approved. “Since the request was beyond the number of revisions they had already received, I was able to point back to that statement of the scope of work and negotiate a fee for that additional work,” Rogers says. “I couldn’t have had that leverage otherwise, so it was invaluable!”
Now, he writes out a clear, detailed scope of work that includes the number of revisions, specifics on the deliverables, and other details. Not only does specifying the scope of work upfront help your client relationships; Rogers says it can “save your butt…and your bottom line.”
How can I avoid scope creep other than specifying what the project entails—and doesn’t—in my contract?
“Include up to three rounds of revisions in your contract and then specify an hourly rate for any revisions or additions beyond that point. When presenting a revised design to a client, label your e-mail and the submitted design document to indicate which round of revisions they are on. This helps set client expectations and eliminate surprises. Many clients will stop tinkering with a design once they realize it will be an additional fee. That being said, don’t overlook the opportunity to ‘super-size’ your project by selling additional services and features.”
—Amber Timmerman, graphic designer/Web designer, www.mintyfreshdesign.com
Susan Johnston (www.susan-johnston.com), a freelance writer from Massachusetts, remembers working with a client that assumed taglines were included in her Web site content. The client never mentioned taglines, and Johnston thought she had clearly outlined what was included in the project. What should she have done: give a little or resist completely?
“I knew it wouldn’t take too long to brainstorm some taglines so I sent her a few ideas as a value-add to keep her happy,” says Johnston. The client did not like her concepts, however, and asked her to send more. “I’d already given her more than agreed upon, so I felt I needed to put my foot down,” she says. Johnston told the client she would be happy to create more tagline suggestions, but because it was not part of the original project scope, she would revisit the fee. “She got the message and chose one of the original taglines I originally sent,” Johnston adds.
I like the way Johnston handled it. She knew that penning a few extra phrases wouldn’t take her a lot of time, and used her judgment when going the extra mile—as well as when she should hold her ground. When the client didn’t like what she had come up with, she reminded the client who she had already gone out of the scope of work, and that additional time would cost more.
Aubre Andrus (www.aubreandrus.com), a freelance writer from Seattle, encountered scope creep when one of her favorite blogs hired her to write content. After, she found out they only paid $50 for a post, which entailed writing, shooting and editing photos, coding the post into WordPress, and participating in weekly conference calls. “I didn’t even finish one assignment before realizing that although this client would look amazing in my portfolio, it wasn’t worth my time,” recalls Andrus.
Andrus says she has learned her lesson about taking jobs where she does not receive all the details on how much work is really involved from the get-go. Again, these situations are not necessarily the client’s fault; as solo-pros, we have to ask the right questions to determine the full latitude of the work before we lay blame on the client for scope creeping.
I think many freelancers do not consider that these scenarios could play out when they start, but most seasoned pros are all too familiar with them. It is, as are many aspects of being self-employed, something that you learn to deal with as you go—and something that definitely needs to be expressed to the client the moment an issue arises. In telling customers about your processes from the start, you can generally nip these sorts of things in the bud and move on to a satisfying relationship.
I am a self-proclaimed workaholic, but I have certainly learned to set and respect my own schedule as the years have gone on. I only work on weekends when I really need or want to. Otherwise, I have to remind myself to shut down on Friday afternoons.
In recent years, I’ve stopped answering the phone after 5 p.m. and even noted business hours on my Web site. I am not the only creative professional that has had to establish boundaries when it comes to my time. Stephanie Jones (www.cleverfinch.com), a graphic designer and illustrator from Virginia, is a new mom juggling work and parenting.
Soon after she became a mother, one of her clients continued to call her several times a day despite her reminders that she is not available by the phone for most of the day. She has directed the client to leave a voice mail or send an e-mail in order to keep projects moving forward. “I still struggle with this and at this time have included ‘Client Hours: 10 a.m.–2 p.m.’ on my e-mail signature so clients are aware that I am not available to them from 9 a.m. to 5 p.m. This way, I don’t feel guilty when I can’t pick up a call,” she says.
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My So-Called Freelance Life: How to Survive and Thrive as a Creative Professional for Hire by Michelle Goodman
It’s no wonder that many of us equate client relationships to dating. You’re either happily in love, nearing a bitter break-up, or dealing with a “spark” that is readily dwindling, yet hanging on anyway. There’s nothing wrong if each client relationship does not give you butterflies; sometimes you may not love the project or the client but the pay is good, or vice versa. Or you may be hanging on to a client for another reason; maybe the brand recognition they provide is a benefit. That’s okay.
There will be clients that are not worth sticking it out for. Maybe you’re not interested anymore, the client has gone too far, they are becoming increasingly difficult or rude—or heck, they could even be “cheating” on you by using a competitor!
For whatever reason you find to sever ties, splitting from a client can be difficult because you probably don’t mean the client any ill will. Sometimes, working together just isn’t a good fit. Luckily, the rules of business are a little more lenient than in dating. For instance, some solo-pros find it more acceptable to let a client know you no longer wish to work together over e-mail; it’s a little more acceptable than dumping a boyfriend or girlfriend that way, right? You may prefer to confront a client on the phone or in person. Depending on how you word the communication, it doesn’t have to turn into a fight. After wrapping up a project, it’s not unheard of for solo-pros to simply stop communicating with a client as a signal that they no longer wish to work together.
I rarely have to “dump” clients I don’t want to work with anymore because they either only need one-time copywriting assistance or I refer them to another writer. I have told a few clients that I didn’t think I was a good fit for their projects; that’s a widely accepted “thanks but no thanks” way to word things without having to go into specifics. Sometimes you really are not the best fit for a gig.
Jones knows what it’s like to realize it is time to part ways with a client. She has ended two client relationships during her career. “My clients, in both cases, revealed themselves over time to be unprofessional and poor planners. They were both uninterested in paying attention to details…and not surprisingly they would exceed scope and become combative when I would let them know in advance there would be an additional charge if they needed the extra work done,” she recalls.
If you terminate a relationship, try not to think of it as failure. Maybe your client has acted like a butthead, or maybe you want to set your sights on something new. That’s all right.
“The great part about these experiences is that although they stunk, I will likely never have a client like that again because I can spot the warning signs a mile away. Learning the hard way is tough, but you often learn the lesson quickly and are not doomed to repeat the same mistake over and over again,” Jones says.
Boundaries are essential not only to keep your sanity, but to remain productive. These processes you devise and policies you establish may not necessarily go into your contract, but that doesn’t mean they don’t matter or deserve respect.
That’s why it is critical you discuss these things with your client ahead of time and respond to matters, firmly, if they transpire. Set the tone from the get-go—then the creativity can commence!
Sweet Success
It’s All in the Details
After Susan Johnston (www.susan-johnston.com), a Massachusetts-based freelance writer, reviewed a client’s Web site copy needs, she put together a quote based on research time, a phone call, and one round of revisions if needed.
Because she works remotely with practically all of her clients, Johnston never asked if an in-person meeting was necessary. The client, though, was expecting some face-time. “Of course, I didn’t ask and she didn’t mention it until after she’d paid a deposit and I was starting,” she said. “I knew that meeting with her would take several hours including travel time and I hadn’t included this in the project quote…I told her I’d be happy to meet with her, but we’d have to adjust the fee since it was outside the original scope of the project.”
After that, the client decided a phone conversation would work just as well. The project went smoothly from there, but is a constant reminder that you have to cover all bases when putting together a quote—and stick to your guns if the project expands beyond its original scope.
Beginner Mishap
More Than a Public Relations Nightmare
Seattle based writer Michelle Goodman (www.anti9to5guide.com) remembers a time as a rookie when she agreed to publicize a dance show for a husband-and-wife team. She and the clients agreed verbally that she would put in 40 hours to promote the show, which would include drafting a press release and trying to secure coverage from media outlets. In true novice fashion, she did not collect a deposit upfront and agreed to collect payment at the end of the assignment.
The client asked her to attend performances and meetings, something she didn’t consider when putting together her estimate. Some of the requests were a little far-fetched, she jokes, but she admits she was at fault for not setting boundaries from the start.
After putting in at least 80 hours, not only did her rate go down by half; she never got paid. Without a contract in place, what did she have to leverage? “Having a contract or e-mail agreement would have helped,” she admits. “I was young and impressionable and I had no boundaries, I just agreed to everything.” Goodman says it was annoying to realize she had been taken advantage of, especially because she could have prevented it. Nowadays, Goodman never starts a project without a contract and a deposit in hand.