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Erik Deckers

About Erik Deckers

Erik Deckers is the President of Pro Blog Service, a content marketing and social media marketing agency He co-authored four social media books, including No Bullshit Social Media with Jason Falls (2011, Que Biz-Tech), and Branding Yourself with Kyle Lacy (3rd ed., 2017, Que Biz-Tech), and The Owned Media Doctrine (2013, Archway Publishing). Erik has written a weekly newspaper humor column for 10 papers around Indiana since 1995. He was also the Spring 2016 writer-in-residence at the Jack Kerouac House in Orlando, FL.

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Here are my most recent posts

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Speaking for Free Costs Money

I’ve been wrestling with a problem that many entrepreneurs and business owners face: the idea of “working” for free.

My wife, Toni, is a jazz singer who is asked to sing at no charge around the state. My photographer friend, Paul D’Andrea, is often asked to take a couple quick pictures as a favor, because “it’s so easy for him.” Other writer friends are asked to knock out a quick article on something or other “for the exposure.” And I’m often asked to speak for free by small companies and nonprofits.

While none of us are jerky enough to say “NO!” outright, it’s important that the requesters think about what they’re asking for. They’re not just asking for an hour of our time, there’s so much more that goes into it.

When you ask us to to work for free, here’s what it costs us:

  • Preparation time: My wife hours creates a new set list for every show, and rehearses it for 2 – 3 hours beforehand, in addition to her normal practice. Paul has to make sure his equipment is assembled, working, and fully charged. And I spend anywhere from 3 – 6 hours for a 1 hour talk. All of us do this whether we get paid or not.
  • Travel time: Driving to a local event can take 60 – 120 minutes round trip. I’ve driven up to 5 hours away for talks outside Indiana. Toni has driven 2 hours one way for a single show.
  • Gas: Cars do not run on good intentions, they run on gas, which costs $3.35 per gallon right now. It takes anywhere from 2 – 20 gallons to get to where we’re going.
  •  The actual event: Toni typically sings for 2 – 3 hours. Paul’s photo shoot takes at least an hour if it’s an “easy” one. A good writer will write and edit for 3 – 4 hours. I speak for an hour. None of this includes pre-event setup, which takes roughly an hour for any of us.
  • All of that leads to lost work time: We get paid for our jobs. That’s how we feed our families and run our businesses. When you total up everything it took to do that free concert, photo shoot, article, or talk, we spent 4 – 12 hours not doing client work. That’s anywhere from a half day to a day-and-a-half of billables that we didn’t collect from clients.

So what does that work out to be? How much would that be for you? To figure out your regular hourly rate, take your hourly salary (your yearly salary divided by 2,000 hours per year) and multiply it by 4 and 12 (the range of hours).

That’s what it costs for you to work for free.

Based on a $60,000/year salary, that can be $120 – $360 of lost revenue.

Would you take an unpaid day off work to volunteer at a nonprofit? Or to help a friend move? What about taking an unpaid day to attend a conference, and pay your own way to travel there (but receive a free pass)?

If you expect us to work for free, will you also give up half to a day-and-a-half’s wages to show your gratitude and share our plight?

But that doesn’t mean we won’t do it.

Now, having said all that, none of the people I mentioned have become such egotistical jerks that we would never, ever work for free. We will.

Toni will sing for free at certain events, because not singing there can work against her. Paul will take the pictures, and the writers will write the articles, because sometimes the exposure is more important. And there are still groups and events where I’ll speak for free, because I consider it paying my blessings forward.

But it wasn’t until I started looking at what it was costing me in lost wages for that free one hour talk that made re-examine whether I would start charging to speak at events. And every other professional I’ve talked to has wrestled with this problem. Hell, we all still wrestle with it, even after we “turn pro.”

Should we do something beneficial for someone because it’s the good and right thing to do? Or do we say no to some very special people because our top priority is to take care of our families?

Over the past two months, I’ve had to cancel two free engagements because they conflicted with two paid ones, and I had even committed to the free ones first. I felt guilty about it. So guilty that I almost turned the paid ones down. It was Jason Falls who reminded me that my first responsibility was always to my family, and that sometimes I have to make the unpopular, un-fun decision to take care of them, like saying no to people I want to help.

Taking care of family means I have to turn down some important events down. It means Paul can’t load his very expensive camera equipment into his truck for an easy photo shoot. It means Toni won’t load her entire PA system into her car for a free performance. And it means the writers won’t even turn on their computers for some free exposure.

These costs are why I charge for my speaking engagements, or at least ask people to buy copies of my books. That’s not to say that every talk I give will be a paying one, or that I’ll require the organizers to purchase 100 copies of my book.

But hopefully it will help you understand why I — and my family, friends, and colleagues — may say no when you ask us to work for a “quick freebie.” (Hopefully it will also help you understand you need to bring your A-game when you’re going to convince us that working for free is worth it.)

And of course, if we do work for free, a little thank you gift, like a Starbucks or Barnes & Noble gift card is always appreciated.

Photo credit: NoHoDamon (Flickr, Creative Commons)

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Another Blog Writing Secret: Write Like You Speak

I’ve talked in the past about different blog writing secrets — write list posts, write an email to your mom — but I’ve thought of one more secret you can try:

Write how you speak.

Imagine you have to present the content of your post to a small group. How would you say it? Hopefully you won’t be stiff and overly formal. Hopefully you won’t try for the lofty language of a presidential inauguration speech. Imagine presenting the material in a casual, laid back manner, and how it would sound.

Then write that almost as a script.

If it helps, close your eyes and visualize yourself giving that talk. Think of the vocal inflections, the pauses, the emphasis, the important points, and the stuff you would gloss over.

If you can write it this informally, as if you were giving a 5 – 10 minute talk, you can come up with 200 – 300 words for a blog post.

As you write it, try to hear yourself speaking the words. If it helps, read it out loud with the same inflection and delivery as if you were actually giving the talk. You’ll near the places where you take a breath, you’ll hear the words you want to emphasize, and you’ll even hear the paragraph breaks.

And since a lot of people tend to read things as if they hear a narrator in their head, your post will seem conversational in tone, and as if it were being delivered in person. That makes it easy to digest and enjoyable to read.

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CelebBoutique Shredded by a Lack of Curiosity and General Awareness

CelebBoutique, the British clothing website, may have committed the foul-up of all foul-ups:

After being hammered for just a few minutes on social media, their social media people turned on the TV, and saw the terrible news from Aurora, Colorado. Then they sent this:

We apologise for our misunderstanding about Aurora. – CB

We didn’t check what the trend was about hence the confusion, again we do apologise.

Followed by this:

We are incredibly sorry for our tweet about Aurora – Our PR is NOT US based and had not checked the reason for the trend, at that time our
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social media was totally UNAWARE of the situation and simply thought it was another trending topic – we have removed the very insensitive
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tweet and will of course take more care in future to look into what we say in our tweets. Again we do apologise for any offense caused
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this was not intentional & will not occur again. Our most sincere apologies for both the tweet and situation. – CB

Meanwhile, most Americans are livid at the insensitivity of what is now being perceived as a vacuous and clueless fashion brand spouting off about clothes, shoes, and celebrities. As a result, CelebBoutique has just taken a major hit to its brand, with several thousand people pounding them like the fist of an angry god.

And it’s not going to go away anytime soon.

I’ll cut them a little slack. Yes, I’m angry, but I also recognize that mistakes do happen. Someone made a terrible mistake, and it’s not worth storming the castle with pitchforks and torches. No one should lose their job for this.

But this was a mistake that could have easily — EASILY! — been prevented.

All you have to do is be curious, and be willing to educate yourself.

Lack of Curiosity Killed CelebBoutique

Their first follow-up tweets are the first indication that curiosity is not something CelebBoutique’s social media staff holds in great quantities.

“We didn’t check what the trend was about.”

How do you not check this? How can you not be the least bit curious that some word is trending? Why was the first thing that popped into your head about you and your dress, and not “gee, I wonder why that word is trending?”

There are tools to tell you what is trending. There are tools to tell you why something is trending. Google, Twitter Search, even hashtags.org are all places to start.

This is where people need to think like journalists. A journalist never reports on a story that he hears from one person. A newspaper reporter doesn’t write a single sentence until she has confirmed everything her sources tell her. And they never, ever fire off a comment without knowing a single thing about what they’re talking about.

I don’t know if CelebBoutique uses an outside PR firm to do their social media, or if they have an internal staff. I don’t know if they have one person in charge of the Twitter account, or if there are several people.

But regardless of who is doing what, you need to act like a journalist. Even for just a minute. Act like a journalist.

Be curious.

Ask questions.

Wonder why something is happening, and don’t just fire off the first thing that comes into your head, like an 8-year-old.

Otherwise, you pull a boneheaded move like this, and all the goodwill you and your company have worked for will be shredded and ground into the dirt.

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Update: It looks like the National Rifle Association made a similar gaffe. They actually deleted their entire Twitter account.

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No Bullshit Social Media Interview with Peter Clayton of Total Picture Radio

I had the chance to be interviewed by Peter Clayton, producer/host of TotalPicture Radio, for his Online Strategy Channel podcast about No Bullshit Social Media. I met Peter, and spoke with him for several minutes at BlogWorld New York in June. It was at a party Pearson threw for its authors. So I was there, my No Bullshit Social Media co-author Jason Falls was there, as was our favorite editor, Katherine Bull, as were several other authors and potential authors.

I tell you, I felt like a real writer that night, boy. When people walk around handing you drinks and little deep-fried tacos while you talk about books in a New York bar, that’s when you truly feel like a writer.

(We also got to hear a young lady, one of the waitresses, sing opera that night. She was awesome.)

During our interview, Peter and I chatted about why businesses are afraid of using social media, why they need to consider social media marketing as one of their best options for it, and how companies need to rethink their attitudes toward not only social media, but how they need to change their entire mindset to be ready for the 21st century.

Peter was kind enough to share the mp3 of our interview, which you can listen to here. (Sorry, no opera.)

The No Bullshit Social Media conversation with Erik Deckers

One important issue Peter and I discussed is that if you trust your employees to answer your phones, give sales and marketing presentations, receive and count your money (and not steal it), and to pay the people who work for you, but you don’t trust your employees to use social media without being struck stupid and unproductive, then you don’t have an employee problem. You have a management problem.

We also talked about how we can monitor social media marketing efforts, and determine their ROI, even while marketers are still struggling with how to accurately measure the results from billboards, TV commercials, and newspaper ads.

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Stories of Rejection to Soothe the Artist’s Soul

Yesterday, I wrote about how it’s a good idea that some people quit their art after receiving a couple of rejections.

If you really love your art, you won’t let a few haters keep you from it. That’s because it’s a passion, not a daydream. It’s not a whim. It’s not something you do during commercials. It’s what you do instead of everything else, every day.

If you’re easily persuaded to quit, just because someone somewhere didn’t like what you were doing, then quit. Quit now. Quit wasting your time in pursuing something you don’t really love, just because you thought it “sounded neat.” Save the rest us the hassle of climbing over you later.

One of these things could hold a ton of rejection letters.

For the most part, the editors, publishers, and judges are pretty smart. They’re not know-nothing mouth-breathers. They know what their publication or venue needs, and they know you’re not the one to fill the spot they have open.

But occasionally, there are those who, well, pass up a good thing, and will be remembered long after they die as the poor schlub who let [insert blockbuster artist here] slip through their fingers. These are some of the stories we writers tell ourselves to make ourselves feel better after receiving yet another rejection:

  • Stephen King used to hang rejection letters on a railroad spike, because there were so many of them. After he became famous, he found an old, rather nasty rejection letter. He pulled out the original story, which was not very good, and sent it back to the same magazine that had rejected him. They were so excited to get a story from the master of horror, that they made sure it got into the next issue, and emblazoned his name on the cover.
  • F. Scott Fitzgerald’s The Great Gatsby was once rejected with the line, “You’d have a decent book if you’d get rid of that Gatsby character.” The Great Gatsby went on to be published, with that Gatsby character intact, and is now ranked #2 in Modern Library’s 100 Best Novels of the 20th Century
  • My favorite book, Catch-22, by Joseph Heller, is #7 on Modern Library’s list. But it was rejected by several publishers, including one particularly facepalming line, “I haven’t the foggiest idea about what the man is trying to say. . . Apparently the author intends it to be funny — possibly even satire — but it is really not funny on any intellectual level.”
  • Speaking of Stephen King, his book, Carrie, was rejected with the line, “We are not interested in science fiction which deals with negative utopias. They do not sell.” I always love to hear from editors and producers who “know” what the public wants, only to find out they have absolutely no clue.
  • e.e. cummings’ very first work, The Enormous Room, is considered a masterpiece of modern poetry, but it very nearly didn’t see the light of day. cummings had to self-publish the work, because it was rejected by 15 publishers beforehand. But he at least dedicated the book to the 15 publishers who thought that his work wasn’t good enough.
  • J.K. Rowling was rejected by 12 publishers before Bloomsbury agreed to publish Harry Potter and The Philosopher’s Stone. And they only accepted it because the chairman’s 8-year-old daughter had been given the first chapter to read, and then demanded more. Bloomsbury auctioned the US rights to Scholastic for $105,000, and then Rowling went on to make more money than the Queen of England, over $1 billion. Meanwhile publishers like Penguin, HarperCollins, and TransWorld had all turned the book down because it was 120,000 words long.

In doing my research on this post, I found something interesting, and the biggest, most important lesson out of all of this for us artists: James Joyce, like every other artist, had received many rejections over his career. Dubliners was rejected more than 20 times. But more importantly, A Portrait of the Artist as a Young Man (#3 on the Modern Library list) was only published after he re-wrote it several times.

That’s the key.

Joyce reworked and reworked one of his most famous novels many times before it was finally accepted. While artists like to console themselves with stories about Stephen King and J.K. Rowling, and the idea that our original work is an undiscovered masterpiece, the more common outcome is that we have to take Joyce’s path and rework and redo our original work several times before it meets the acceptance of someone who’s willing to pay for our efforts. We like to think that the people who turn us down are idiots, but with a few exceptions, they know what they’re doing.

The Stephen Kings and J.K. Rowling’s of the world are, quite literally, one in a few million. They’re the outliers.

For every Stephen King, there are tens and hundreds of thousands of manuscripts editors will encounter over their lifetime that are an absolute waste of paper. So if you were rejected by a publisher, call them all the names you want in your own home, but never write back and tell them how stupid they were.

Brush yourself off, rewrite your manuscript again, and find another publisher.

Do as Frank Sinatra said, and live the best revenge through massive success, so that one day, your name and your editor’s name will be put on a list like this.

Photo credit: wizetux (Flickr, Creative Commons)

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If Rejection Makes You Quit, Good.

Back in 1994, when I was first starting my humor writing career, I had been included on a guy’s website that listed funny writers on the Internet. A few months later, when I was checking the site again, he had removed me from his list.

When I emailed him about it, he replied, “Because I don’t think you’re that funny.”

My first reaction was “well, f*** you!” But I didn’t say that. I said it a lot to the computer, and vented to another humor writer about it, but I didn’t tell him what a little twit he was. I swore I would “show that humorless little bastard who’s funny,” vowing to become the funniest newspaper humor columnist this side of Dave Barry.

Then I did something even better. I outlasted the guy. I worked and honed my writing and my humor year after year. The humorless guy killed his page after about 12 months, and was never heard from again.

But it did hurt my feelings. It made me feel like I wasn’t very good at what I loved to do. But the one thing I never did was quit. I never stopped writing humor. (Mostly because I was so full of myself, I believed the guy was an idiot, and that I was better than he thought. So quitting never actually occurred to me.)

But regardless, that’s the pivotal event that every artist faces: the successful ones keep going, the wanna-bes and poseurs quit and go through the motions.
 

Rejection Does Not Mean the End

I hate watching American Idol and X Factor because so many people see their rejection as the end of their career, sobbing that this was their one and only chance at stardom.

How asinine are these people? If they were true artists, trying out for a TV show would be just one rejection of many on the road to success. The true artist would shrug his shoulders and say, “Oh well. I’ve got an audition at Cadillac Ranch I have to get to.” But these morons sob like it’s the end of the world and they give up on a dream that was nothing more than a flight of fancy.

That’s how you can tell the difference between a real artist and a poseur. The real artist does their art every day. The poseur waits for inspiration, which comes every few days, but only if they have time for it.

The poseur has plenty of time to stew over the sting of this new rejection; the real artist barely has time to think about their successes, let alone being passed over by the mouth-breathers who wouldn’t know real talent if it kicked them in the ass. (Not that I’m bitter or anything.)
 

That Which Does Not Kill You Makes You Stronger

If you quit your art because someone didn’t like what you did, you weren’t that serious about it in the first place.

There are plenty of people who quit pursuing what they think is their dream after they receive a couple rejections, believing they’re at the top of their game after a few short months, or even a year or two. They get voted off the show, turned down, or otherwise rejected, and they’re done.

In his book, On Writing, Stephen King tells a story about how impaled every rejection letter he received on a nail. It eventually became so full, and the letters weighed so much, he had to replace it with a railroad spike. This is the guy who has published thousands of novels and a kajillion words. And he was rejected so much that he needed an industrial-sized rejection letter holder.

But he never quit. Never, ever. And now he makes millions of dollars scaring the bejeezus out of millions of people.
 

We Need Rejection to Weed Out the Poseurs

If you really love your art, you won’t let a few haters keep you from it. That’s because it’s a passion, not a daydream. It’s not a whim. It’s not something you do during commercials. It’s what you do instead of everything else, every day.

If you’re easily persuaded to quit, just because someone somewhere didn’t like what you were doing, then quit. Quit now. Quit wasting your time in pursuing something you don’t really love, just because you thought it “sounded neat.” Save the rest us the hassle of climbing over you later.

But if you’re serious about it, you can get discouraged, you can get sad, you can think the other person is a big stinky jerkface. We all have those moments. We all think the people who told us “no” are know-nothing mouth-breathers.

The difference between the serious artist and the poseurs is that we don’t quit when we get rejected. We impale the rejection letter on a spike and start on the next project.