Working with a freelancer


I've worked both sides of the desk. As a full-time story editor, I hired and fired writers of every stripe. As a freelance writer, I too have been the hiree (and, though more rarely, the firee) on the other end of the power curve.

A speech is a partnership between speaker and writer. The speaker is the content expert; the writer is the communications expert. Developing a winning speaker-writer relationship is a matter of finding someone who listens as well as you think. Who reads as widely as you travel. Whose media savvy is as finely tuned as your market sense.

Believe me, the last writer you want walking through your door is one armed with a blank notepad and a mind with a similar terrain.

Look for a contributor—somebody who can take your ideas and play them against today's headlines, tonight's talk shows and tomorrow's thought leaders.

Do I have to meet this character?


Not necessarily. Personal face-time is no longer requisite for strong collaborations. Thanks to advances in telecommunications, you can stay in touch and in control from any time zone.
  • Look at the recording industry. Sinatra cut duets with rock stars on the other side of the Atlantic. Never met them and never wanted to.
  • Look at the political arena. Obama chats live with his foreign counterparts at a moment's notice and never has to leave the White House.
  • Look at trends in corporate communication. Visionary businesses hold virtual press conferences that span continents.

When schedules and geography do cooperate, by all means sit down with your writers. But if recent experience is any indication, this is another business tradition going the way of full-day bull sessions and the full-course lunch.

Should we audition more than one freelancer?


Absolutely. My sharpest clients develop a reliable stable of writers. That way they can match a particular scribe to the job at hand.

By the way, the time to begin auditioning writers is NOT when you're already knee-deep in alligators. The best time is before you decide to drain the swamp.

Start a new writer on something small with a generous timeline. Then make the next job a speech that has to be delivered yesterday. If your writer can turn out quality under pressure, save that business card.

How organized do I have to be?


This is your call. Most speakers like to supply the vision and substance of their remarks. Beyond that, it's largely a function of budget and urgency. Given a workable timeframe, you should look to the writer for more than just words. Strategic thinking and structural finesse also come with the package.

How candid should I be?


Guarded but open. Do the whisper numbers about your second quarter make an upcoming audience a tough sell? Do you have a big alliance in the wings that will change the face of your industry a few weeks down the road? Is there anything in your own career or family life that can tie you closer to your listeners at this time?

Keep the fine print under wraps, but never hire a writer you can't trust with the big picture. Warts and all. To this end, nondisclosure agreements go a long way in building everybody's comfort level.

How long does it take?


How long is a string? I've been asked to turn around full speeches overnight. Other jobs give months of lead time. Neither is ideal.

The best speech is one that feels up-to-the-minute but not rushed. My advice is to book the writer early and start the work later. If you're confident about a timely approvals process at your end, shoot for three weeks. Keep that adrenaline pumping.

How much will it cost?


Good writing costs the same as good plumbing. Really. Find out what it costs in your part of the world to call in a first-class plumbing contractor. Now estimate the time an equally experienced writer will need to spend on your project: research, outline, conferencing, first and second drafts. The rates are uncannily similar.

Naturally, a full-text whirlpool of scripted remarks, vetted by a team of architects and destined for glossy press coverage, will cost more than a simple shower of basic speaking points. Each has its place and each is priced accordingly. Gold faucets optional.

Who takes the credit?


Believe it or not, there is real debate around this. Some writers find it dishonest when speakers claim authorship for words they barely glance over before the big day.

I disagree. It's the client's name in the press kit. It's their logo on the cover. It's their signature on the check.

A speech is the speaker's. Wholly. In perpetuity. Get that in writing, too.

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