The Washington Post

a. Monthly rent
b. Office equipment
c. Office supplies
d. Postage costs
e. Internet access
f. Long distance phone calls
g. Office furniture
h. Publication subscriptions
i. Association dues

I called other copywriters who specialized in the same area of interest as me (direct marketing) and, luckily, they shared their pricing with me. Most of them billed on a 'per project' basis, but gave me estimated hourly figures for the work they did.

Stephen R. Clark of Writing Creative Services agrees, "The best sources for pricing information are other freelancers in your local area. Check the Yellow Pages under such headings as Writing Consultants, Editorial, Desktop Publishing, Publishing Consultants, Proposal Writers, etc. Contact them and ask what they've been successful charging for different types of work."

When you're just opening your doors for business, make a concerted effort to call other writers in your area. If they've been established for a while they won't see you as a threat. You'll be surprised how many of them are willing to share their experiences.

After I spoke with other writers, I looked at how many years of experience they had in comparison to my background. It was quickly apparent that I couldn't charge the same as them since I was "the new girl on the block." Therefore, based on my what I felt I needed to earn to cover my overhead, I initially billed an average of $35 per hour (now, ten years later, this number has increased accordingly).

However, I preferred to bill "by the project" versus "by the hour." I estimated jobs and billed them on a 'per project' basis -- just as my competition was doing -- I didn't offer an hourly rate to clients and prospects.

In their book Advertising Freelancers, Ed Buxton and Sue Fulton reported that 74% of freelance advertising writers charged a fixed fee per project. Only 26% used an hourly or day rate.

Where are you setting up shop?
Whether you work out of your house or in an office, it's important to consider what part of the country you're working in. I started my business in Colorado after working in New York City -- the advertising capital of the country. I thought I could charge Colorado businesses the same rates I saw copywriters charging New York businesses.

A New York client wouldn't blink twice at a $3,000 direct mail package, but a small company in a small town, most often, flinched at the rate. However, as my experience grew and my client-base expanded across the country, my project fees balanced out so that every company is now billed the same rate for similar projects.

In his book Secrets of a Freelance Writer, Robert Bly puts it this way, "The variation in freelance fees is tremendous. However, by talking with a few prospective clients, you quickly get a sense of the upper and lower limits for projects in your specialty, your industry and your geographical locations. You may find, for example, that some clients expect to pay $600 for a brochure, while others regularly pay $2,000; but no one expects to get it for $200, and no one is willing to go to $4,000."

Wisconsin-based freelancer Robin Gee believes that location doesn't play as large a part in influencing fees as it once did. She explains, "Although East and West Coast clients still tend to pay more, the rest of the country is catching up. Thanks to fax machines, e-mail and other technology, where you live is less important for many businesses. You may live in the South or Midwest and end up working for an East Coast publisher accustomed to paying higher rates. On the other hand, living near a small business or publisher may give you the edge and create a steady income even though your clients may not pay as much as those far away."

Educate Your Clients
Keep in mind that the creative process involves educating clients. They aren't always aware of everything required in executing and completing a project. I've heard clients say, "It should only take an hour or two," but they don't realize you also have:

• Preparation and research time
• Brainstorming time
• Time to execute revisions
• Time spent on the phone or in meetings
• Travel time

• Client has testimonials
• Client has previous marketing materials & samples of what competitor's done
• Client has marketing/business plan
• Client has done "homework" -- has stats on target audience, knows benefits of product, knows how it meets needs in the marketplace
• Only one person involved in the approval process

• No testimonials available, you have to do interviews to obtain quotes
• New product, you have to gather samples of what the competition is up to
• No marketing/business plan written, possible library & online research required by you
• Client hasn't done homework -- requires meetings in-person (which also means travel time) and meetings via phone to gather the necessary information
• Approval is accomplished via committee

1a. Determine your daily labor rate (multiply the annual salary times 1.5 to account for life, health, dental, disability, and retirement benefits). This reflects a company's cost for an employee.

Example: $45,000 x 1.5 = $67,500 annual labor rate

1b. Divide the annual labor rate by 180 (the standard number of billable days in a year -- 365 days minus 104 weekend days, 8 holidays, 10 vacation days, 5 sick days, 24 administration days, 34 marketing days).

Example: $67,500 / 180 = $375 daily labor rate

• Equipment - computer, copier, fax machine
• Internet Service Provider - online access, Web site hosting
• Supplies - paper, toner, pens, business cards
• Association dues
• seminars
• Trade publication subscriptions
• Advertising and marketing
• Postage and shipping
• Travel
• Office furniture

165 expenses
75 profit
$615 Total
$615 / 8 = $77 hour

When a client calls me with a RUSH project, I explain that the project fee I'm setting takes into account that there is an immediate turn around requested (and therefore, I have to readjust my schedule of existing projects to 'fit' this in). In my contract, I also include a line that says an additional fee will be assessed for turn around times of less than 72 hours.

The Code of Fair Practice continues:

"...if the client requests that work be completed within a shorter period than originally negotiated or requests that the freelancer spend more time within a negotiated period, a rush fee--again 20 to 50 percent--might be appropriate. If the freelancer cannot accommodate the schedule change and the client deems the change essential, then the freelancer receives a cancellation fee for the remainder of the project and returns project materials to the client. Alternatively, the freelancer may, with the client's knowledge, subcontract all or part of the project to another capable freelancer."

Cancellation fees are also a vital part of one's  contract. If, after a project has begun, a client cancels due to unforeseen circumstances, you should be compensated for your time and effort up to that point. The Freelance Editorial Association's Code of Fair Practice puts it this way:

"Cancellation Fees...Because freelancers reserve time for projects and depend on clients' schedules, it is necessary for contracts to protect the freelancer's working time. The contract between freelancer and client therefore specifies contingencies that will require a cancellation fee or a late fee."

In my written agreements with clients I word it like this, "Cancellations:
If, for any reason, the project is canceled after it has been started you will be billed immediately (at the rate of $60.00/hr) on the basis of the time and effort expended and expenses incurred up to that point."

As a result of this brief clause, cancellation fees have never been an issue among my clients. They understand the repercussions of canceling before the project ever begins. And, they appreciate the importance of reimbursing me for the work I've done up until that time.

A word (or two) about spec work:
There comes a time in almost every freelance writer's career that he/she will be asked to work for nothing. As Martin Gross says, "Sooner or later, and usually sooner -- sometimes quite early in a freelancer's professional life -- the siren call of speculative work is heard."

If  you choose to do spec work, beware. Should you take on such an assignment, you may actually see some money as a result. But, many times, you end up doing something for nothing.

Personally, it is rare that I'll do work on spec. In conversations with other freelancers (writers and graphic designers) the common response is that often the spec request is accompanied by big promises, but followed by small rewards. Obviously, the final decision is yours.

Martin Gross suggests that there are many types of "Speculative Sharks" out there, but offers this advice on a positive note:

"There are two instances when you may want to work on spec. The first is when you're starting out. Then, you may even want to write on spec to get the learning experience." "You may also want to consider spec work when a trusted advertising agency or printer or creative colleague asks you to 'join their team' on a contingency basis -- perhaps as the direct marketing consultant as part of a new business presentation."

A freelancer's query list for getting started, whether you're fresh out of school or you're just getting started with a freelance business after being gainfully employed, setting your fees requires a careful review of many elements. Before you go out on your own, look at the following questions, then give some thought to what's been discussed herein. 

When you're done, you should be able to determine a starting point for setting your fees.

• Are you unique in your pursuit or is there much competition in your area from fellow writers?
• If there are other writers in your 'neck of the woods,' what are they charging for their services? Will your colleagues share their experiences with you?
• Are your competitors' services similar to yours (you may be a catalog copywriter, they may be copy editors or proofreaders)?
• How long have you been writing? Is your talent specialized in a specific arena (financial, high-tech, technical, etc.)?
• Where are you located geographically? Will you look for most of your work in that location or out-of-town?
• Are you going to work out of your home? What percentage of your home expenses will you be able to write off on your taxes (check with your tax advisor)?
• Are you going to set up an office? Can you share expenses with other creative people (i.e. a fax machine, computer printers, copy machines)?
• This list could go on and on.