What are some different freelance writing rates that freelancers ought to be charging? It depends on where you live. If you live in America’s Heartland, where the cost of living is lower, you’ll charge less. If you live on one of the three coasts (that includes Chicago), your rates will be much, much higher.

It always makes me laugh when clients from Out East or Out West think that we aren’t charging enough here in Indiana, because our rates are often 50 – 100% less than what they’re being charged by hometown writers. We’re able to charge so much because our cost of living is so much lower. Rent is anywhere from $600 – $1,200 here in Central Indiana, but in New York, that’s the the cost of a gallon of milk.

But things aren’t as good if they’re not as expensive, so the smart freelancer raises his or her rates to meet expense expectations when the client is from Away.

Having said that, here’s a typical freelance rate for the Midwest (excluding Chicago; see above “Out East or Out West”). Also, keep in mind that these rates may be higher or lower, depending on whether you’re a new freelancer or a seasoned professional:

• Blog post (300 – 500 words): $75 – $125
• Web copy (1 page): $75 – $100
• Press release (1 page): $100
• White paper (6 – 10 pages): $300 – $600
• Market copy (2 pages): $200
• Newspaper or magazine article (< 1,000 words): $300 – $1,000, depending on the publication.

To that, I would add:

• To fix what you already wrote: $50/hr.
• If you edit the work, and I have to go back and fix what you did: $200/hour
• You’re from the East/West Coast, and think we don’t charge enough: Double the above rates until we reach your desired expectations.

Update: I’ve received a lot of feedback on this particular post, both in the comments and messages scrawled in blood on the flaming bags of dog poo on my front porch. This is a contentious issue for some, because they make much more than this from their freelance work. For others, they can’t believe I would advocate charging so much (those are usually the people who hire freelancers).

The point of this post is to get you thinking about what freelancers should be charging, at least as a starting point. Your mileage will vary, depending on your experience, where you live, and who you’re writing for.

Writing a magazine article for a small startup magazine in small-town Indiana is going to be way different than writing a cover piece for Newsweek or US News and World Report. Giving one price for a magazine is like saying, “A car costs $18,000.”

So, if you’re thinking about hiring a freelancer, these are prices to start with when hiring freelancers here in America’s heartland. If you’re looking to launch your freelance career, this a good guideline if you live in the Midwest. But if you’re a freelancer who’s already earning more than this, ignore these numbers, keep doing good work, and charge what your clients are willing to pay.

Be Sociable, Share!

• 

Let’s say you work for a large country music festival in Prince Edward Island, Canada, and you want to quantify the value of your social network so you can get sponsors for it.

Okay, this may only apply to one of you in the entire world, but the ideas are transferable to anyone who wants to determine the value of their social network, so you can sell it to sponsors and advertisers.

Kim Doyle (@Kim_Doyle) works for the Cavendish Beach Music Festival, which is held every July. I emailed a response to her and then figured it would make a good blog post, especially since I love going to music and art festivals, and am hoping one of them will arrange an onsite consulting gig at the festival. (I’m just sayin’.)

What is the Value of a Social Network?

Basically, the statement you want to be able to make to your sponsors is “our network will have X value to you.”

Pemberton Music Festival

This is a little tough for a new network, because it has no “value,” since it’s still unproven. But an established network has more value, because you know how big it can get, you’ve already seen what it can do, and you’ve been delivering clicks and eyeballs to your other social properties.

We can’t say for certain what value the network will be until AFTER the festival happens. Next year, you can demonstrate last year’s numbers. And if you’ve been doing it for a few years, you can show growth. But it’s hard to say, our network will deliver X visitors.

That’s because you need to be able to trace the interactions and transactions from your network to the sponsor’s properties, and they need to trace what happens from there. But if they’re not doing any monitoring or measuring themselves, then they have no idea what those visitors are worth. You can only show them raw numbers, but it’s up to them to demonstrate the value.

Measuring the Social Media Traffic

1) Show them how you can track all the visitors to your website, all the members of your social network, and measure the amount of time they spend interacting with the site and with each other.

You’ll do this through Google Analytics (# of visitors, time on site, # of pages visited), Klout score (especially your influence and reach), Facebook analytics, and Bitly (# of links clicked).

Include links on your blog (“Please visit our sponsors who make this possible. The more you visit, the more they support us.“), and count the number of times people click those links. Post links to their sites via Twitter (“we want to thank Floaty Bits Bottled Water for supporting Cavendish Beach Music. Visit them here.”)

If you can show those numbers, you can show sponsors what you can deliver. If this is a new venture, start measuring the size of your network, plot its growth, and see if you can start driving traffic to your site in order to show potential.

2) Show them the demographics of who they will be reaching. If you can know a few demographics of the people who come to your festival, you can show sponsors why you’re going to reach them better than traditional mass media.

For example, if a big part of your audience falls within Generation Y, you can find articles and studies that show a lot of Generation Y doesn’t watch TV, they Tivo it and skip commercials, or they watch a lot of YouTube videos on their mobile phones. So create promotional videos, put them on YouTube with a sponsor’s logo in the bottom right corner just like on TV.

See how many different ways you can drive traffic to the video, and measure each channel to see what drove the most traffic (use different Bitly links per source, 1 for Twitter, 1 for Facebook, 1 for the blog, etc.) Measuring that traffic will give a sponsor an idea of the kind of traffic you’ll be able to drive for them.

3) Remind them that they are going to be reaching a niche audience in a way that no one else can: they will reach a large group of people who are passionate about your festival and that music/art. But unlike the festival-only sponsors, they’ll be reaching them long before and long after the festival ends.

And not in the “your logo will be on the t-shirt” way of reaching them.

But if you’re sending out tweets that point to videos with a sponsor’s logo on it, and those fans watch the videos to see who will be playing, or to see a recap of the last festival, those sponsors get more exposure than the ones who were only visible during the festival itself. And any links from the YouTube page to the sponsor’s page can have a major positive impact on their search engine placement.

Consider doing a daily/nightly recap of the festival each day. Treat it like a little newscast where a “reporter” is on scene (film it with a high-def digital camera, not a mobile phone), interviewing artists and fans, showing a few seconds of the artist playing, and then putting it all into a YouTube video (complete with sponsor logo). Tweet that out a few times the next day, let people access it via QR code, and put it on Facebook for the fans who couldn’t make it, and count the traffic there too.

These are just a few ways music and arts festivals can find a sponsor specifically for their social media marketing and social networking efforts. These kinds of affinity groups can be a marketing goldmine for marketers because they’re reaching a dedicated niche audience who has an affinity for that festival, and are more inclined to support people who support something they love.

Photo credit: theburied.life

Be Sociable, Share!

• 

We just finished the 10-day festival of independent theatre and weirdness known as the Indianapolis Fringe Theatre Festival, and I had a chance to see a few shows, including a couple of old favorites.

I also had a chance to talk social media — because I’m an annoying geek that way — with a couple performers, and decided to write a blog post based on what I told a couple of them.

Didi Panache and Wayburn Sassy of the Screw You Revue

This post is written for any musician or performer, especially the independent theatrical types who depend on ticket sales to make their living. For some of these performers, they bounce from festival to festival and make a good portion of their income from their take. Some even use one festival to pay for the next one.

This is a strategy they can use to improve their take next year.

What You’ll Need

• A laptop computer
• A digital camera with video capabilities. If not, your laptop’s camera will do.
• A Twitter account.
• A blog (WordPress.com or Blogger.com are great free platforms, as is Posterous.com and Tumblr.com)
• A YouTube account.
• A Facebook page. (This is different from a personal profile. You want an Artist’s page.)

What You’ll Do

These are in a general chronological order, but not in a do-one-then-the-next lockstep order. I’m using the Indianapolis Fringe (#IndyFringe) as an example, but this will work for any concert, performance, show, or festival.

• First, make sure your Twitter bio includes a line about the name of your show, or your most famous character’s name. If you only performed in one festival, put the name of that in the bio too. “You may have seen me at the #IndyFringe Festival!” You can always change your bio, especially as you move from festival to festival, or follow specific groups of people.
• Start following people on Twitter. People will follow you back, especially once they see that you’re a performer at the festival they went to, and even moreso if they were at your show. To find people who were at the festival, do these steps:

• Go to FollowBlast.com and do a search for #indyfringe, and follow anyone using that term. Keep in mind that these hashtags only work for about 30 minutes, so it’s actually a good idea to access this site while you’ve got some downtime at next year’s show.
• Build a hashtag archive at TwapperKeeper.com. I’m still trying this out, but I’m hoping it will collect old hashtags, unlike FollowBlast.com. However, it only goes back 7 – 10 days, and back for 1,500 tweets. It will then go forward and continue to save tweets. You should set this up before your next festival starts. Work in conjunction with the festival organizers, because they may want to use your archive as well. Also, before you start, search to see if anyone else set up an archive before you so you don’t duplicate efforts.
• Go to search.twitter.com as another way to search for #hashtags. Put in #indyfringe and see what you can find. Search results are somewhat limited, but you may be able to find older tweets that FollowBlast and Twapper Keeper couldn’t, especially if you’re seeing this now, and are scrambling to recover those old tweets.
• If all else fails, try Topsy. It’s not 100% accurate, but it gives you more than you might get if you’re looking for a festival that ended three weeks ago.

• Check out the festival organizer’s Twitter page and follow everyone they follow (not everyone who follows them). If they have been good Twitter stewards, they have vetted the people they’re following. Those people will include other performers, supporters, festival-goers, and other people in the industry or festival business. (This last group could be a good connection to getting into other festivals!) Do this with any festivals you plan on going to next year as well.
• Use Twellow.com and Twellowhood.com as a way to find other people who are in the cities where you’ll be next year.

• Why You’ll Do It

  Okay so far? You’ve built your Twitter list for a very important reason: Promoting stuff! You’re going to promote next year’s show through videos, your blog, and even email newsletters. Here’s how.

  

  Zan Aufderheide of Welcome to Zanland

  • Now you need your camera. Start shooting some short videos. Update us on what you’re doing, where you’ll be, thoughts on stuff you did this year. Treat it like a diary. If you’re an actor playing a part, do it in character, especially if that character is going to be back at the festivals next year. Shoot the videos in character, or tell some jokes, or give people a preview of what you’ve been working on. Shoot some rehearsals, some special messages to individuals, or perform a new song.
  • Post those on YouTube.com (make them public), and make sure you fill out all the details, like Title, Description, etc. (all this stuff is indexed by Google, which makes your videos found more easily by people searching for you or the festival).
  • Share these videos on Twitter and your Facebook page, and post them to your blog (do the same with any photos you take). This will accomplish a lot of pre-show promo before you ever set foot in the city. And if you can get people buzzing about the show before you start, you’ll be selling out more shows.

  You can get a Flip camera for as low as $170 now, and if you think that’s still high, use the money you were going to spend on fancy-schmancy postcards and spend it on the camera instead. The postcards are immediately dated once the festival ends, and you can’t reuse them. The video camera will pay for itself with all the videos you shoot and the postcards you don’t buy.

  Finally, there are a few things you want to do next year, to get ready for the next off-season.

  • Build a mailing list of all your attendees. Send around a clipboard before your show begins, or have them sign up before they leave. Ask people for their HOME email, not their work email — especially if your show is laden with profanities and cross-dressers. Guard this with your life. Promise to never, ever spam them. Use it only for newsletters and occasional social media communication.
  • Load that list into a Gmail account (here’s why you should use Gmail), and then either use the Rapportive.com Gmail plugin, or upload the email list to Gist.com, to start finding where your list members can be found on the different social media networks. Follow them on Twitter, and connect with them on Facebook.
  • Send out an occasional newsletter — no more than once a month — and email it to them. Let them know what you’re working on for next year so they get excited about your upcoming visit. Give them an opportunity to unsubscribe, but try to give them useful information so they won’t want to.
  • Use your video camera to shoot post-show testimonials and get them up on your blog as soon as a show ends. Tweet the new blog posts to your Twitter network during the show, so you can continue to remind people you’re there and you’ve got an awesome show. Ask your Twitter network to retweet your show information, so they can help you spread the word.

  There is so much more you can do with social media. Believe it or not, this is just scratching the surface of what can be done. But while it seems overwhelming, keep in mind two things:

  1. This will get easier as you do it more often.
  2. It beats the hell out of busking and handing out postcards in 90 degree heat.

  Photo credit: Erik Deckers

Be Sociable, Share!

• 

Crisis communications has one overriding mantra, one foundational principle that drives every emergency they respond to: “Be first. Be right. Be credible.”

If you’re not first, you’ll spend your time playing catch up for hours, days, or even weeks.
If you’re not right, your mistake will be repeated, or worse, cited as the truth.
And if you’re not first or right, you will never, ever be credible.

Crisis communication — also called CERC, or Crisis Emergency and Risk Communication — is what emergency first responders use to communicate with the media and the general public. It’s how the health department communicates warnings and updates during a public health emergency. It’s how Homeland Security communicates with the public during a terrorist attack.

CERC, compared to corporate crisis communications, is all about getting the right information out as soon as possible, and being seen as the source for news and information about an incident.

But it’s not happening anymore.

Five years ago, it was enough to just email a press release — which had been approved by a committee — to the mainstream media. Then you answered media calls and arranged interviews. You didn’t communicate with the public, you communicated with TV and newspapers.

But the definition of “the media” has changed. Today, anyone with a smartphone and YouTube is a TV journalist. Anyone with a smartphone and Facebook is a photojournalist. Anyone with a laptop and a blog is a newspaper reporter. The citizen journalist is the person with news to share and a way to share it. Quickly.

This makes the mainstream media crazy.

Not only are the citizen journalists breaking news before the media, they are becoming the first, right, credible sources of information, not CERC.

These days, news is coming from the people who are on the ground. They’re repeating everything they hear and see, and everyone else is passing it on.

CERC communicators need up-to-date technology if they’re going to stay up to speed. They need access to the various social networks if they want to reach the public. Using 4-year-old Blackberries and laptops is not enough anymore. And letting IT block all access to social media networks only makes the problem worse.

(I’ll save the discussion about why IT should not be involved in communication issues for another time.)

If CERC communicators want to stay on top of a situation, rather than being third in the race, they need to remember their roots. They need to use the technology that will make them first. They need to learn how to be right without committee approval.

Because until that happens, they’re not going to be credible.

Be Sociable, Share!

• 

I’ve been spending time at the Indianapolis Motor Speedway as a racing blogger this year (my 3rd year). I had a chance to interview Paul Schmidt, the director of account services at Blue C Advertising, an advertising and PR firm in California.

He was there to support one of their clients who were sponsoring a few drivers in the 500. They had organized a contest for their client as a way to build traffic and name recognition for their client. At the time, the contest had yielded 2,500 new “likes” on their Facebook page, and nearly as many members in their text club.

Sports marketing is a different animal from regular marketing, in that you’re selling a product that — unless you’re working directly for a league or team — you have to center around a particular event or other organization. In Paul’s case, they had to promote a very specialized niche product to the audience most likely to appreciate what the company, racing fans.

While there are media outlets and TV shows about street racing, this is a way to use a marquis event like the Indy 500 to create a special event and celebratory feeling about the product. Combine that with a special promotion as a way to launch a new product, and you can see how interesting (and difficult) sports marketing/advertising can be.

Be Sociable, Share!

• 

I’m both heartened and worried by the number of PR and marketing agencies that are offering social media.

I’m heartened, because it means the business world is that much closer to accepting social media as a real form of communication. It means they know it’s going to be around for the long haul.

I’m worried, because a lot of these agencies don’t even understand social media. They just threw their new junior account exec at it because she has a Facebook page and they think that means she knows enough to run a large-scale campaign for them.

Make sure you know your stuff, AND that it works.

Social media is not an entry-level position, people. It’s not something you turn over to the brand new employee who has never even run a traditional campaign. And it’s definitely not something an agency should try to learn on a client’s dime.

NOTE: This is not to say that entry-level people shouldn’t do social media, or that PR or marketing agencies shouldn’t get into social media. They absolutely should. But, your social media experience needs to be more than resuscitating the nearly-dead Twitter account you started six months ago with the “Still trying to figure this twitter thing out. Does this make me a twit?” tweet.

I’ve seen a number of agencies now that are starting to offer social media as part of their service offerings, but I think they’re out of their element, and are only going to screw it up.. For one thing, their Twitter accounts are less than six months old. The agency accounts have fewer than 500 followers, and the employee accounts are all hovering around 100, and are filled with retweets from the agency account.

That is not social media experience. Not enough to start providing services for clients.

Strong social media experience means running campaigns where you can measure the ROI and show how much money you made. Strong social media experience means having more than 2,000 followers, because you know the ethical way to break past Twitter’s 2,000 following cap. Strong social media experience means you have a blog that’s more than a year old, and it’s filled with new social media knowledge and opinions, because you publish 2 – 5 times per week, not per quarter.

Look, I know how to write a press release, and I know how to pick up the phone and individually pitch journalists and bloggers. (Jason Falls would say that puts me ahead of the game for knowing that.) I even know how to do good TV and radio interviews. But that doesn’t make me a PR expert.

If I wanted to open a PR agency, I could probably do a passable job. I could fool a couple of small clients, and learn on their dime. But I wouldn’t be giving them the best I could be (or, if I was, the best I could be wouldn’t be good enough).

If you’re in PR or marketing, and you want to offer social media to your clients, you need to do a few things before you ever you’re ready to start:

1. Put together a team of people who are responsible for social media, not just one person. You at least need someone who can write and someone who knows how to read analytics and research. You also need one person who will be responsible for it all. This is not a time for committees and democracy. You need a social media account executive to take charge.
2. Understand that social media is as much about sales and customer service as it is about marketing and PR. If you’re going to manage social media for a client, you need someone who can sell and deal with problems.
3. You need to invest heavily in the ongoing education of your social media team. Require them to read industry blogs, read or listen to social media books, attend social media networking meetings, and pay for any learning they can get their hands on. I met an advertising agency that pays its staff to read books and give book reports to the rest of the agency at a monthly meeting. They pay $25 per book read (they even have a copy of Branding Yourself (affiliate link) in their library).
4. Send your social media team to at least one conference a year, if not two or three. Better yet, have them learn enough so they can present at those conferences. The great thing about being a presenter is you have to know more than your audience, which means they have to stay on the cutting edge.

If you’re going to do social media, do it right. You can’t sign up for a new Facebook account and pronounce yourself a social media consultant any more than you can record a video on your mobile phone and call yourself a video production house. Take the time to learn as much as you can before you offer it. Don’t feel like you have to rush. There are plenty of clients available, and they’ll still be there in a year or two when today’s agencies are being fired by their clients for bad social media execution.

My book, Branding Yourself: How to Use Social Media to Invent or Reinvent Yourself (affiliate link), is available on Amazon.com, as well as at Barnes & Noble and Borders bookstores. I wrote it with my good friend, Kyle Lacy.

Photo credit: Inky (Flickr)

Be Sociable, Share!

• 

I’ve been digging into a lot of social media case studies lately, especially those that involve a little guy going up against a large corporation and winning the battle of public sentiment. A lot of these studies involve videos, and I think I’ve figured out the secrets to why they’re going viral, and why large companies need to watch out for these situations.

One of the most memorable videos is Dave Carroll’s “United Breaks Guitars,” which he released after United Airlines mishandled his $3,000 Taylor guitar. Carroll released a song and video about his efforts in filing a claim against United and all the hoops he jumped through for a year before anyone would even listen to him.

Ten million views and three videos later, Dave not only got his satisfaction from United, but Taylor guitars gave him two new guitars. His efforts also netted enough negative press against United to give an entire PR department heart failure.

Other videos have had similar success getting the attention of the corporate giants, and getting them to take notice and fix their problem. The same is true with blogs, tweets, and other times people have gotten punked by . And I’ve identified a few things they have in common.

• Viral videos are not straightforward rants. There needs to be an unusual hook, or something that makes it different/better than someone staring at the camera and talking about their complaint or issue. That’s why videos that involve music or acting gain a lot more traction than that talking head video you wanted to do.
• Viral videos include something humorous. Dave Carroll’s video was musical and funny. Other complaint videos are also funny, or have a humorous element to them. People love to be entertained, and anything that’s humorous will gain more attention than something that’s serious. (Of course, this doesn’t work about serious issues — just ask Groupon — so choose your humor carefully. And if you have to resort to humor that is guaranteed to offend part of your audience, don’t use it. You don’t want your audience hating you.)
• Viral complaint videos are always about David going up against Goliath. This is the big secret. I have yet to see a viral complaint video about two Davids fighting it out, or two Goliaths duking it out. It’s always the little guy going up against the big guy. Whether it’s Dave Carroll (a real David) fighting against the uncaring, careless United Airlines, or Dooce complaining about her Maytag (not a video, but a great example of the little guy fighting the big guy), people always cheer for the little guy. If there’s any indication that the big guy is screwing someone, we’ll watch the video, read the blog post, and retweet the tweet in order to help get the word out about the “epic struggle.”

This last point is what corporations need to beware of. All it takes is one irate customer with some creativity and a Flip camera to make your PR people sweat blood trying to overcome the tens of thousands of views of that video and subsequent complaints, plus any negative press that came about from their video. Dave Carroll’s epic struggle was picked up by the global press, making sure the United name got plenty of mentions in the press.

Even for companies who don’t want to be on social media, they need to at least have a presence so they can monitor customer complaints. They shouldn’t be caught off guard by videos, because they’re already behind the 8-ball when it comes to social media. The little guy is ready to complain about the big guy, and everyone else is ready to support them and carry their torch for them.

Be Sociable, Share!

• 

I’ve had the pleasure of getting to know Dan Clarke (@speedydanclarke), an Indy Lights racer from England who lives in Indianapolis, and learning about his struggles this off-season. He’s looking for corporate sponsors so he can race in the upcoming season.

Dan Clarke at Carb Day 2010

If you don’t know what Indy Lights racing is, then you’re starting to see Dan’s problem. Indy Lights is the developmental racing league for IndyCar — Indianapolis 500 — racing. In a sport with fewer US fans than the NHL, he’s in the minor leagues.

Think of your favorite baseball team. Can you name its AAA minor league affiliate? Can you name their players? Do you know who their best hitter was last year, or their best pitcher?

Now you understand Dan’s problem. He’s looking for sponsors for a sport outside the big three — NFL, NBA, MLB — trying to convince them that the developmental league is a great place for them to be seen.

This is where social media can help. A personal branding campaign, even for athletes, can help build their brand, find new fans, and hopefully, bring in the big sponsors. It doesn’t matter if you’re an IndyLights driver, a minor league baseball player, or even the veteran right guard for the New Orleans Saints. If people don’t know who you are, they’re not going to care, and you’re going to have a tough time getting them to notice you. But by doing some basic personal branding, you can use that network to bring in new opportunities that contribute to your total success.

Start with Twitter

Twitter is one of the easiest places to start. This is where you can immediately see your fan base (# of followers), interact with them, and even measure the impact you’re having. Turn followers into fans, turn fans into evangelists. And as more people follow you, demonstrate to potential sponsors that you carry a lot of weight with your network.

Most athletes ignore their fan base on Twitter, choosing instead to communicate with each other publicly about private issues. For example, most IndyCar drivers have only a few thousand followers and only follow a few dozen people. Helio Castroneves, one of the most famous drivers in the world today, only has 31,000 followers, Ryan Briscoe has 8,600+, and Penske Racing (“one of the most successful teams in sports history with 330 race wins”) has 9,900 followers. To put that in perspective, I have 7,200 followers, I write blogs for a living, and the last thing I won was “Best Comedy Script” in a theater script competition in 2005.

If you don’t follow people, they won’t follow you. When you’re in a small-market sport, you can’t afford to be picky about who you follow. If you’re worried about privacy, don’t tweet your personal life. If you’re worried about managing a large Twitter network, get TweetDeck and use Twitter lists. But don’t make yourself seem unapproachable. Twitter is the one place you can interact with fans and still keep them at arm’s length.

Tip: Use Klout or Twitalyzer to measure the influence you have. Show sponsors that a positive word from you can influence buying behavior among your fans.

Create a blog

The blog is really the hub of your personal branding campaign. The point of being on those networks is to drive traffic to your blog; the point of your blog is to get people to join you on the other networks.

Your personal branding campaign is a wheel, with the blog at the center.

A blog is a place where you can share a behind-the-scenes look at what you’re doing. Share your exploits on and off the field/court/track, post photos, post videos, and tell stories. Fans love feeling like they’re connecting with their favorite athlete and learning stuff the casual observer or fair-weather fan doesn’t know. This is why celebrity news is so popular. People get to learn something about their favorite stars. But since small-market athletes don’t get the rave coverage that the Peyton Mannings and LeBron James of the world, you have to make your own news.

Blogs are becoming more important and popular among the PR crowd, especially crisis communicators, because they avoid the whole filter of mainstream media. For athletes, this avoids the filter of the sports media, which only gives a scant amount of attention to your sport anyway, and even then, only to the victories of the marquee stars and screwups of everyone else.

Tip: Use Google Analytics or Yahoo Analytics to measure web traffic. Demonstrate to sponsors that you 1) can get traffic to your blog, and 2) can send that traffic to sponsors’ websites.

Social Media PR

Adopt a strategy of sharing with other bloggers in your sport. Even though I’m not a big open wheel racing blogger (I’ll get to blog from the media center of the Indy 500 for the 3rd year running, but won’t be going to any other races), I can name at least five other race bloggers who all have a decent readership. And they’ll gladly share some digital ink with anyone from the sport who will talk to them.

So, talk to them. Tell them stories, give them exclusive news, and grant interviews. In short, treat them like real journalists, and they’ll pay you back with space, exposure, and kindness. Let a few bloggers break the news about your new team, your plans for the year, or even your struggles. They’ll become your fans, and tell their fans all about you, which will make them your fans too.

I’ve been listening to Wall Street Journal sports writer Stefan Fatsis‘ book, A Few Seconds of Panic (affiliate link), about his weeks spent in training camp with the Denver Broncos as a kicker. While I have never been a Denver Bronco’s fan, Fatsis’ look at the danger and drudgery of training camp and football has me looking at the Broncos in a whole new way, and I may have to cheer for them a few times this year (something I would never have done until this week). Can you find bloggers to do that for you? What about bloggers outside the sport? When less than 1% of the country knows who you are or what you do, non-industry bloggers are a rich, untapped vein. (Just don’t blanket every blogger out there. You’ll be labeled a PR spammer.)

Tip: Let other bloggers tell your story. If they make it compelling enough, they’ll win your fans for you. If you connect solidly with 10 bloggers and they each have 1,000 readers, you’ll reach 10,000 people. Now, compare that to the effort you would need to put out to reach 10,000 people yourself.

Build a Facebook Brand Page

You may already have a Facebook page, but that should be kept private. Try not to connect with your fans on your personal Facebook profile, since that’s where you’re also connecting with family and friends. Instead, create a Brand Page, and connect with people there.

However, it’s crucial that you actually use this page regularly; don’t ignore it. Promote your blog posts there. Post status updates when you publish your tweets (but don’t feed your Twitter stream into Facebook; it’s annoying. Just rewrite them to be more Facebook friendly.)

Tip: Republish your videos and photos to your Facebook page too. Ask your fans to share them with your friends. It’s a well-known adage in social media circles that we consumers trust recommendations by our friends. Let your fans evangelize to their friends about you.

There are a whole lot of other strategies I could recommend — posting videos to YouTube and photos to Picasa/Flickr — but that’s for another post. Use these strategies as a place to start and start building your personal branding campaign as a way to get sponsors, build name recognition among fans, and add new fans.

Do you have any strategy suggestions? Anything you’ve done as an athlete, or anything you wish an athlete would do? Share your wisdom in the comments section and let’s learn from each other.

My book, Branding Yourself: How to Use Social Media to Invent or Reinvent Yourself (affiliate link), is available on Amazon.com, as well as at Barnes & Noble and Borders bookstores. I wrote it with my good friend, Kyle Lacy.

Photo credit: Just_Bryan (Flickr)

Be Sociable, Share!

• 

Everything in this post — as I originally wrote it — was wrong.

A few days after I wrote this, I received a call from Ken Lehman of Winning Workplace, who very kindly and patiently explained to me what an idiot I was. (Okay, he didn’t really say that, but after talking with him, I realized I had been an idiot.)

I wrote a follow-up post to give you an idea of how Winning Workplace creates the Top Small Company Workplaces project for Inc. Magazine (i.e. this is Winning Workplace’s award, and Inc. is their media partner, and publishes the story. I think WW would do the award project even if they didn’t have a media partner. They’re just that awesome about their support for small businesses.)

So, I debated whether to remove this post or leave it up. I’m only leaving a very small part of it up, and deleting the rest.

Not because I’m embarrassed by it. I mean, I am. I’m totally embarrassed. But I’m typically okay with leaving evidence of my embarrassment in place for others to see.

No, I’m deleting it because I know the power of Google, and I don’t want Google to use this post as part of their search algorithm. After listening to Ken, I’m convinced that Winning Workplace is doing some excellent work, that Inc. Magazine is doing a good thing by publishing the story, and I don’t want my post to taint their work by associating it any search results Google may come up with.

So, read the smoking remains of this post, and then go over to the Inc. Magazine is NOT Charging You to Write Their Story to see the real story. And if you’re so moved, apply for the Top Small Company Workplaces award.

Want to apply to be one of Inc. Magazine’s Top Places to Work in 2011?

Great! It’s only $149 ($249 if your company has 101 – 500 employees).

And that’s just to see the application. Once you fill out the application, you may be selected as one of the Top Places to Work in 2011.

KA-BOOM!

Be Sociable, Share!

• 

Kim Kardashian annoyed more than a few Twitter users when it was leaked that Kardashian commands $10,000 to send a promotional tweet out to her then-2.7 million followers (now 5+ million).

(Kardashian denies that she receives that much money. Rather, she says she just tweets about products she likes.)

While I don’t follow her, I’m sure that her 5 million followers (minus the ones who aren’t spam bots and people who abandoned Twitter after a month) are looking forward to reading something interesting and not very vapid or shallow. (Yeah, good luck with that.)

How disappointing is it for her fans to learn that their favorite non-celebrity celebrity is only telling you she likes her shoes because someone forked over 10 grand to say so? While marketers think a so-called celebrity’s time and endorsement are valuable, they are also showing they think my time or interest isn’t.

So I have a new offer to marketers who want me to read celebrity endorsements and social media marketing messages: I will read anyone’s tweet, watch their commercial, or read their marketing copy for a fee.

That’s right. You can pay me to absolutely look at, read, watch, and consider your product. Think of it as a personal endorsement. After all, my time is valuable. Time I could spend working or being with my family is instead interrupted by you and your spokespeople trying to get me to buy something. And I do my best to ignore it, hide from it, or block it completely. So you come up with something new and creative, which means I have to do something new and creative to avoid it.

So how about you pay me instead? If you pay me, I will read whatever you put in front of me (except for that damn Kay Jewelers ad where the brain-addled woman is afraid of a thunderstorm). Rather than spending $10K on someone who is famous without actually doing anything useful, spend the money on me, and I will read or watch to your heart’s content.

According to my new Pay-For-View pricing schedule, I will:

• Read any celebrity advertising tweet for $75. Any non-celebrity advertising tweet is only $25. (Hey, if you’re forking out $10,000 because someone is famous, chances are I find them annoying. So the extra $50 is for the wear and tear on my soul.)
• Visit any company website for $150, and spend 10 minutes on the site, plus additional charges for any of the following:
• Watch any video less than 5 minutes in length for $200. For videos longer than 5 minutes, it’s an additional $75 per minute.
• Read any marketing copy, up to 750 words in length, for $150. Since I can read 750 words faster than you can say it in a video, I’ll cut you guys a break on the cost.
• Also, any marketing surveys, registration forms, or instances where I have to give you my personal information is $100 plus a $25 per minute processing charge (minimum 5 minutes). I had originally considered charging a flat fee per information field (i.e. mailing address, phone number, etc.), but the rate sheet ended up being three pages long and still required a lengthy explanation.

Now, these prices are actually fairly reasonable, and I feel completely justified in charging them. After all, my time and consideration are valuable. I have a job, a family, and disposable income. I’m not easily swayed by celebrity endorsements, and will go out of my way to avoid most commercials and marketing messages. In short, you’re spending all that money to get celebrities to reach me, and I’m going to support you (and them) by spending my money. The least you can do is support me for spending my time thinking about you.

Kim Kardashian may be on to something, and I have to give her credit for helping me stumble upon the idea. As a thank you, I will read her next three promotional tweets for free.

No guarantees I’m buying anything though.

Be Sociable, Share!

•