Hello!

Welcome to the September issue of the GOT COPY? e-newsletter!

Have you ever found yourself in a highly unusual situation involving copywriting? Whether it was funny, frustrating, or otherwise unbelievable, I'd like to feature one story and address it in a future AT ISSUE. Email your story.

Thank you and enjoy your day!

~ Stevie Ann Rinehart
Independent Copywriter

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GOT COPY? - Issue 10 - September 2002

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IN THIS ISSUE:
(1) READER FEEDBACK: The Money Issue - Getting Paid What You're Worth (July/August issue)
(2) AT ISSUE: Why Should Copyright Matter to Copywriters?
(3) MARKETING/WRITING TIP: How to Know What to Keep and What to Leave Out in Your Copy
(4) RECOMMENDED WEB SITE: WDFM.com
(5) UPCOMING ISSUE
(6) NECESSARY BLURBS

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(1) READER FEEDBACK: The Money Issue - Getting Paid What You're Worth
(July/August issue)
You have to love this gem from Tim Leavitt in New York in response to last month's column, "The Money Issue - Getting Paid What You're Worth."

On the subject of getting your fair price:

When quizzed by a client about why he was charging so much for a piece of copy "that must have taken 5 minutes to write," an associate of mine replied that it had, in fact, "taken him 25 years to write those words" and that's why they were so valuable.

What an enlightening tidbit that reinforces the value of what we writers do! And it goes for any other profession as well, including your client's. Thanks for sharing, Tim.

On a side note, a reader in Chicago wants to know if there are any copywriting seminars here in the U.S. (one-time or recurring), and especially in Chicago. I'll post responses in the October issue.

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(2) AT ISSUE: Why Should Copyright Matter to Copywriters?
When you write that article or brochure, do you have the right to use it in any way you want? Does it matter? It sure does.

In the United States, the entity (you or your client) that owns the copyright to your work is the one that controls its usage and can even revise the piece to suit its needs (derivative works). The copyright owner has the exclusive use of the work and can license it to others.

Why is this important? If you assign your copyright to a client - or you sign a "work made for hire" agreement - you lose your right to show it in your portfolio (unless you have written permission to do so, which is fairly easy to obtain). You also forego any income that could be gained from re-use of the work in all its forms (derivative, print, electronic). These things must be taken into account when setting your fees, so ask the client what rights they intend to buy.

The confusion seems to stem from this: Purchasing writing services is often misunderstood by clients (and some writers) to include the copyright to the work as well. They are actually two separate matters. This happened to me a couple of times early in my career. Whether you're the client or the writer, address this upfront. Otherwise you may encounter some very awkward (and even heated) moments, as I discovered. (Note: Writers who are employees have no rights or control over their own work because it's created within the scope of employment.)

If you're a client, assess whether you even *need* the rights you're purchasing. You could very well overpay for something you won't even use (such as the copyright, or exclusive North American rights, etc.). It would be more economical for you to purchase usage rights as necessary.

Having said all that, let me share this with you:

David A. Fryxell wrote an excellent article called "Straight Talk About Rights" for the May 2002 issue of Writer's Digest. (Get your hands on this article - it's worth it.) When I read it, I saw a different view on the realities of retaining all rights. I'm not saying that as a writer you shouldn't have them - they're yours by law anyway. But Fryxell argues that not only can signing a "work made for hire" agreement be good (only if the money is right), but that "it's simply bad business to let rights become a deal-breaker on principle rather than economics." (This goes for the client, too.)

Fryxell suggests considering the resale value of the work. Will it likely be usable in one year? Five years? Does it appeal to a specific audience or a very broad one? Do you want to risk losing the assignment in order to retain all rights when the subject matter is so specific that it would need a major rework to make it sellable to other markets? These are certainly issues to consider.

Many freelance writers regard copyright ownership as their "bread and butter" And it should be. But do you all agree that it comes down to a business decision - not an emotional or principled one necessarily?

If you cut your prices too sharply, clients may come to expect it and you won't make much of a living. You also risk not being seen as a professional.

Share your thoughts!

(For those of you outside the U.S., or who write for global clients, copyright seems to follow the laws of the country in which a work was created. Look up the "Berne Convention" and the "Universal Copyright Convention.")

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(3) MARKETING/WRITING TIP: How to Know What to Keep and What to Leave Out in Your Copy
There's a lot to be said for brevity in copy. But long copy has its attributes, too. We writers often consider it a challenge to know when to stop (or continue) typing. And it goes beyond mere editing. Many of us, including yours truly, need guidance now and then to keep things on track.

>> What is the goal of the piece you're writing?

Is it to stimulate interest? Then perhaps shorter copy is advisable - just enough to tease the reader. Is it to persuade? Longer copy may be more appropriate. Include only enough information that will convey your message (and get the recipient to perform the call to action). Readers are turned off by fluff.

>> Are you being objective?

Read your copy with as objective an eye as possible. Is the point of the piece lost among extraneous details? Conversely, is there enough information to know what it's about? Does your supporting copy really add value to what you're writing about? Or are you simply trying to fill space? This is the hard part because we writers tend to get too attached to our prose.

>> Does your piece accompany more detailed collateral?

If so, opt for brevity so you're not unnecessarily repeating points made more effectively somewhere else.

>> Could your "extra information" be packaged elsewhere?

If you have extra information that you don't want to eliminate entirely or that exceeds your space or word allotment, consider putting it in a callout or sidebar. This is ideal if some of the copy is more supplemental rather than crucial to the main point.

>> What do similar successful pieces do?

Examine similar pieces. It doesn't have to be for the same product or industry, but it would be preferable. What makes them successful? How long do they take to get to the point? How are they conveying it? Also look at competitor collateral - after all, you're trying to attract the same mindshare so it helps to know how they're getting their point across, too.

>> Are you including too many points?

Are you focusing on one benefit... or twelve? Give your audience just a couple of the most important points (or benefits) to concentrate on and make an impact with them. If you present too many points, you may be trying to cover too broad an audience, and your most valuable points may be lost or forgotten.

>> Ultimately, it boils down to this: Write only what is absolutely necessary to get to the point. And make sure you're using the appropriate vehicle (brochure, direct mail letter, article, etc.) to help you more effectively accomplish this.

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(4) RECOMMENDED WEB SITE: WDFM.com
Larry Chase's "Web Digest for Marketers" (WDFM) is a real find. Each week, Larry reviews an assortment of marketing- related Web sites focusing on one topic (e.g., SEO, e-books) - saving you and me a lot of time and effort in locating valuable sources of online information. This free, opt-in e-digest is ideal for us copywriters who may need to know about much more than just writing. Also peruse Larry's "Publisher's Notes" link in which he presents thoughts on a host of marketing issues to inspire your thinking and your business.

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(5) UPCOMING ISSUE: October 2002
~~ AT ISSUE: Can a Business's Communications Sound Too Human?
~~ MARKETING/WRITING TIP: How to Counter Common Client Defenses and Questions

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(6) NECESSARY BLURBS
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