If a client contacts you about a project and your schedule is already full, then take the initiative to tell the client what does work for you. Something like, “I’m afraid I’m not available at that time, but I can write the index if the due date can be extended by two weeks.”

I am often pleasantly surprised when the schedule proves more flexible than it initially appears. I would not have known unless I asked.

This tactic does not always work, of course. Sometimes schedules are firm and the client decides to find another indexer. But if I am interested in the project, it is always worth asking.

(Of course, some projects I am not interested in and am happy to let pass.)

It is important to remember that we, as freelancers, have agency. Simply responding to clients with a yes or no, without any further information, is letting the client control negotiations. So if a schedule or other detail does not work, make a counter-offer. Tell the client what does work. Give the client an opportunity to meet you partway. Now you are taking the initiative. The client has agency too and may reject your proposal, but at least you have spoken up for yourself and explored all options.

Similarly, if you see an upcoming gap in your schedule, contact past clients to see if they have any upcoming work. Let them know your availability. Assuming you’ve previously had a positive experience with the client and want to work with them again, contacting past clients can be one of the easiest ways to market yourself, because you already have an established rapport and track record. A short message puts you front of mind and may prompt them to take action if hiring an indexer has been on their to-do list.

Taking this a step further, schedule a regular, quarterly check-in with past clients. Say hi, let them know your upcoming availability and that you’d love to work with them on another project. Maybe include an article or other tidbit they may find interesting. Be a good and proactive partner, so that they don’t forget about you.

Being a freelancer can involve a lot of waiting for that next project and hoping that schedules align. But this waiting does not need to be passive. Remember that you have agency too. Make counter-offers. Proactively share when you are available. You may be surprised at what becomes possible. 

Today’s question is from Reed, who asks,

How do you handle providing samples of past indexes for potential clients?

Thank you, Reed. That is an excellent question.

My short answer, to be honest, is that I currently do not provide samples.

In the past, I would often refer clients to Amazon to view indexes I had written via the “Look Inside” feature. I would also link directly to Amazon from the portfolio on my website. I don’t often do this anymore because Amazon has become much more unreliable about making the index visible. This strategy can still work, but I would double-check that the index is still there before directing clients.

Now, I simply maintain a portfolio of recent projects on my website. I am occasionally asked for a list of similar books that I’ve indexed, to which I reply with a short list. Would it be better if I sent them an actual index or two? Possibly. But these requests do not happen very often.

I realize that samples can be more important for others, though. Especially for someone who is still building their business or if their business is primarily built on continually finding new clients (say, mostly working with one-off authors rather than repeat work from publishers). Samples can showcase your indexing skills and establish credibility. If you find yourself in this position, I definitely recommend having a few samples on hand.

Samples can either be from past client work or written specifically to be a sample. Past client work can make a stronger case because it is proof that someone else thought you good enough to hire, but a practice index can showcase your abilities equally well. You can also replace samples with better ones as you gain experience and your portfolio deepens.

If using an index that you’ve written for a previous client, I would ask for permission from the author and/or publisher. I don’t know if permission is legally necessary—that may depend on the contract you’ve signed, if any—but I think transparency can go a long way to building good will and to avoiding awkward questions later. Asking for permission also signals that you think the index is worth showcasing, and that may cause the client to themselves feel better about the index and about you as an indexer, and may make them more inclined to return as a repeat client. So be transparent. I think it unlikely that the client will say no. The worst that can happen is that you end up choosing a different index, from a different client, to use as a sample.

When selecting samples, I would aim to have a variety on hand, to represent the various types of books or subjects that I specialize in or want to write. While any sample is better than no sample, it is best if you can send the client a sample that is similar to their own book. 

Once I have permission for the samples, I would make them accessible. Post them to your website. When negotiating with potential clients, either point the client to your website or offer to send them a sample. Personally, I would not send unsolicited samples. Not all clients want them and I don’t want to come across as pushy. Better to give the client a choice.

Going beyond samples, consider creating case studies. This is something I’ve been challenged about recently and am experimenting with, though I haven’t yet finished one. By a case study, I mean taking an index and walking through your decision-making process. What were the challenges of this index? What decisions did you make to meet those challenges? Why these decisions compared to other options? Where a sample simply presents an index for viewing, a case study unpacks the work that went into the index, showcasing your expertise and judgment. A case study can be more work to put together, but can also be more valuable.

If you don’t yet have any samples or case studies, I would begin by selecting, asking permission, and making accessible a few samples. Once those are in place, consider turning one or two of the samples into a case study. Experiment and see how potential clients respond and if either samples or case studies make a difference in landing projects.

Clients want to know that they are making the right decision in hiring you. There can be various ways to provide that reassurance, including positive recommendations or testimonials; an online portfolio or list of similar books indexed; or articles, blog posts, or conference presentations which highlight your authority and expertise. Samples and case studies can also add credibility. Ultimately, be able to show and explain that you know what you are doing. 

I received a thoughtful reply (thank you!), which prompted me to think further about the differences between authors and publishers as clients, and of how the two overlap.

The specific client mix is going to be different for each indexer. Some indexers work almost exclusively with authors. Other indexers, like myself, tend to work more with publishers.

There is no right or wrong client mix. You should aim for whoever is comfortable to work with and whoever is best able to meet your business goals. Your client mix may also reflect your personal background and connections. That said, there are also pros and cons to different types of clients. It can be helpful to keep these differences in mind when building and fine-tuning your client mix. 

Authors as Clients

Authors are fairly self-evident. They are either the person who (co-)wrote the book or the volume editor. Authors may be self-published, or the press has passed on the responsibility for the index to the author. Authors may pay out-of-pocket or, especially if they are academics, be using university funds. When the author is the client, you communicate and negotiate directly with the author, not the press.

The benefits of working directly with authors are that they:

• May have a larger budget, especially if they are drawing on university funds.
• Can be an effective source of referrals.
• Tend to be one-off contracts, so if the experience goes poorly, you less likely need to consider working with them again. 

The downsides to working with authors are that they:

• May have a smaller budget, especially if paying out-of-pocket.
• May require more educating about the indexing and publishing process.
• May not communicate effectively about schedules and other important details, either because they don’t understand the production process or because they are busy and forget.
• Being individuals, each author likely represents a single book. Authors can become repeat clients if they write and publish multiple books, but at best that is likely a new book every year or two. Maintaining a full schedule of authors means building and maintaining a large pipeline. 

Publishers as Clients

Publishers, in contrast, come with a different set of benefits and challenges. By publishers, I mean traditional presses, hybrid publishers, and book packagers. Basically, any larger company producing multiple books. Publishers may hire directly or be a source of referrals to authors.

The advantages to working with publishers includes:

• Repeat and regular work, if the publisher is able to send multiple books per year.
• Assuming multiple books per publisher, fewer publishers are needed to fill a schedule.
• Better understanding and communication about the production process and indexing specs.

The main disadvantages to working with publishers are:

• Smaller and fixed budgets (often, but not always).
• Risk of losing a larger chunk of work if the publisher leaves.

So far, it seems pretty straightforward. Authors can require more work to find and work with, but with greater potential financial reward. Publishers can be easier to work with and provide a greater sense of security by filling up a larger portion of the schedule, but they may not pay as well and losing a publisher as a client can be more devastating. 

There are two further nuances worth paying attention to.

Where Are Those Authors Coming From?

It can be an illuminating exercise to ask how authors find you. Are they coming via your website? A Find an Indexer listing? Referral from a friend or colleague? Or are they being referred by their publisher?

Most academic presses do not hire directly. Instead, they make the index the author’s responsibility and may give the author a list of recommended indexers. It can appear that you are being contacted by a lot of different authors (and you are), but look closer and you realize they are all being recommended by the same handful of presses. This has been my experience, for the most part.

At this point, who is actually the client? The authors are clearly clients, since they are the ones negotiating and paying. But I would suggest that the publisher is also a client. Getting those referrals requires somehow getting onto that list of recommended indexers, which likely requires marketing directly to the publisher. Being on that list, while a valuable source of referrals, also exposes you to the risk of losing all of those referrals should the press stop recommending you. 

So if you want to work primarily with authors, keep a couple of points in mind:

• The best way to reach authors may actually be to market to publishers, to get onto their recommendations list.
• Try to be referred by multiple publishers. This spreads out the risk of losing work should one source of referrals end. 

When Editors Move

If the publisher is the client, you are likely in contact with a specific editor. If it is a larger press, you may be in touch with more than one editor. The challenge is that editors can move.

An editor moving isn’t necessarily terrible news for you. The editor may take you with them to their new position and continue to hire. The editor may also pass your name to their successor, and you continue to work for that publisher. But just as often, I find, the editor doesn’t need indexers in their new position, or they don’t pass your name on, or their successor already has their own list of freelancers. It may be several months before you clue into the fact that a contact has moved, and trying to get re-established with a publisher can be like marketing to a new client. 

All that to say, while publishers can be a great source of reliable work, the real client is perhaps the editor. And editors can be much more transient. Positive relationships can end unexpectedly through no fault of your own.

To manage the risk, try to connect to multiple editors at a press (if the press is large enough to have multiple editors) or ask your contact for referrals to their colleagues. Also, work with multiple publishers. While some relationships will hopefully be long-lasting, assuming that others will end. Spread out the risk by working with a variety of publishers. 

I don’t want this post to be discouraging with all this talk about risk and the downsides to different types of clients. It is possible to thrive as a freelance indexer working primarily with authors, or primarily with publishers, or a mix of both. 

To thrive, though, I think it helps to understand who you are working with, so that you can adjust your marketing, scheduling, communication, and expectations. If you want to change or grow your business, then that may mean changing who your clients are, and how you approach marketing, communication, scheduling, etc…

Know who your clients are. Identify any weaknesses or risks. Adjust to strengthen your client base and put your business on a more sustainable footing to better withstand inevitable changes. 

I don’t want to change the publishers and authors that I work with. There are a handful of publishers I’ve worked with for almost as long as I’ve been freelancing. I am grateful for these long-standing relationships and would hate to lose them. Yet as my business changes, I wonder if some of my clients and I will part ways.

My main concern, right now, is with price. I have been raising my prices to help raise my income to a level which is in line with my current financial needs and goals. I had a good discussion earlier this year with one of my anchor clients in which my contact acknowledged that they want to continue to work with me and that they want to pay me fairly, and yet there is a limit to how much of a price increase they can accommodate. We did settle on an increase, for which I am thankful. I would be very sad to lose this client. Yet a part of me is still uneasy, wondering about the next time we have this conversation.

For me, a key part of running a sustainable indexing business is having a diverse mix of clients and projects. Even my biggest clients provide no more than fifteen or twenty percent of my total income. I currently work with about fifteen different publishers, both trade and scholarly, who either hire me directly or refer me to their authors. Some of these publishers only hire or refer me for one or two books per year, but cumulatively it all add up. 

I don’t want to be too dependent on any one source because clients come and go. Over the fifteen years I’ve been freelancing, it has happened at least five or six times that a publisher I’ve worked with has gone out of business, was downsized, my main contact left, or… I don’t fully know the reason why I stopped hearing from them. But because I have a diverse mix of clients, occasionally losing one, while sad, doesn’t make much of a difference to my schedule. There are enough other offers coming in to fill the gap.

Maintaining a good mix also means that I am not tied to any single production schedule. Publishers tend to follow an internal production cycle, which depends on the types of books they publish and the audience they sell to. Think trade publishers releasing books in time for Christmas or textbook publishers preparing for the start of the next academic year. By working with a variety of publishers, there are certain times of the year I may index more trade, other times of the year more scholarly. Either way, my schedule stays full. 

A mix of projects also provides variety and respite. Some books are more of a grind to read and index. Having a different subject to switch to, or a different audience, can feel like a break even if it is still indexing.

So if you are a newer indexer, I recommend diversifying your client base and project mix. Specializing can be a excellent tactic to be distinctive and to simplify marketing, as well as to play to your strengths and subject expertise, but try to have three or four specialities, not just one. An anchor client or two who send multiple projects per year is great, but don’t stop there. Try to have at least six publishers, if not a dozen, who regularly offer work. If you primarily work with authors, be intentional about asking for referrals and expanding your network. The best way to ensure steady work is to have work from multiple sources. 

Over time, a wide client base should self-perpetuate. Satisfied clients become regular, repeat clients. Satisfied clients also pass your name along, leading to new clients. The need to actively market lessens because enough offers keep coming in. This has been my experience over the last several years. It is an excellent and fortunate position to be in. 

And yet.

As my business goals change, as I seek to optimize income, as I seek projects and clients which are a better fit for me, I may also need to proactively shift who I work with.

This is the part which is a pep talk for myself, because change is hard. I want my clients to like me. I don’t want to say no to reliable sources of work. Yet while serving the client is important, I need to remember that my business also exists to serve me. I am choosing to freelance in order to earn a certain level of income and to have a measure of control and flexibility in how I work. My client and project mix should support these goals as well.

I am not planning on making drastic changes, but I think I do need to be prepared for some change. I need to be prepared that I may price out clients as I raise rates. Being proactive, I can identify and fire my lowest paying clients, to make room for those with larger budgets. I can also look to see which books and subjects are most lucrative for me to index and which I earn the least on. Either I need to raise prices for those low performers or I need to turn down those offers and focus marketing on what I am good at. I want to maintain a diverse mix of clients, while also acknowledging that there are likely potential clients out there who are a better fit for my current goals whom I am not yet working with. The trick is to somehow find them. 

For experienced indexers, I think it is important to periodically check in with our business goals and to see if our current work aligns. Change can feel risky, especially if everything seems to be going alright. But improvements can often be made. Change can be incremental, more like adjusting the course. Change does not need to be wholesale reinvention. 

Whether you are a new indexer or experienced, how do you find your current mix of clients and projects? Are there any relationships you want to keep and strengthen? Any clients you want to get rid of? A dream client you have yet to land?

Today’s question comes from Reed, who asks,

How do you manage the stress of lulls between projects? I’m still in my first couple of years and I usually end up with enough work, but sometimes there are weeks at a time where things are very slow.

I am glad to hear you have enough work most of the time. I remember when I began freelancing. It took about three years for me to feel like I was consistently getting enough work.

I also hear you on how stressful lulls between projects can be. Even if we can reasonably assume that more work will arrive in the near future, the uncertainty about when that work will arrive and where it will come from is stressful. Especially if there are also bills to pay or another reason for needing the work. 

I’m not certain if I am the best person to answer, to be honest. It has been several years since I’ve experienced a significant unexpected lull. I do experience times when work slows down, or the volume of queries drops, or projects are delayed, but I almost always have proofs for at least one project on my desktop. If anything, I wouldn’t mind a few lulls now and again to catch up on other tasks. If I want time off, I need to book it in advance and tell my clients that I am not available.

So, my problem right now is more like the flip side to yours. Maybe you’ll find this encouraging, in that as your business grows, lulls should decrease in frequency and length.

But still, what to do about the lulls now?

My first suggestion is to take advantage of these lulls to do something else. As the adage goes, what opportunity does this enable? You can’t directly control when clients offer you work, but you can decide how to use your time. Do you have business admin or business development projects waiting to be completed? Are there chores around the house that need to be done? Or do you want to take the day off? Perhaps keep a to-do list of non-urgent tasks specifically for these lulls, to take your mind off worrying and to continue to move your life or business forward.

My second suggestion, to help reduce the frequency and duration of these lulls, is to work on widening your client base. Part of what keeps my schedule full, I think, is that about a dozen different publishers regularly either hire me directly or refer me to authors. Further, about half my work is indexing scholarly books and about half is trade. This matters because every publisher, as well as scholarly versus trade more broadly, follow somewhat different schedules. With a diverse client base, I don’t expect work from every publisher all the time. Some publishers only send me 2-3 books per year, which is nowhere near enough for a full schedule. But cumulatively, the projects add up. I can be reasonably certain that a project will arrive, even if I don’t know from where. So perhaps look at who your clients typically are, and see if you can both find a few new regular clients and find different clients than who you are currently working with. Aim for diversity. 

Lastly, be proactive drumming up new work. I’m not sure how comfortable you are marketing; it is definitely not my favorite task. But instead of waiting for work to come along, it’s acceptable to check in with past clients and say, “I’m available!” You never know what that may lead to. Or, as I mentioned, try reaching out to new potential clients, to widen your client base and as one of the tasks you can do during a lull.

Lulls between projects can certainly be stressful. They also pass. And as freelancers, we also need time to work on our own businesses. While client work pays the bills, business development keeps the business alive and healthy. So while working towards reducing the frequency and duration of lulls, also try seeing these lulls as an opportunity. 

And keep going. Sounds like you are in a good place, Reed. I hope your indexing business continues to grow. Thank you for your question.

I’ve also noticed a number of authors who seem to be ghosting me. I respond to their queries, sent them an estimate, and never hear from them again.

This is actually good, from my perspective. It means I don’t have to say no and that time slot is kept open for someone who does want to work with me. I am receiving more offers than I can accept, so while I do appreciate a response to inform me that the author is choosing to work with someone else, I don’t mind when potential clients filter themselves out.

I assume some authors simply forget to respond because they are busy. I’ve certainly done that. But why are potential clients choosing not to hire me? Am I doing something wrong in how I present myself, or am I actually doing something right? While I don’t know for sure, I have a few guesses based on the interactions I do have. I think there are two main reasons why I get ghosted, plus four additional reasons why I may not get the job. 

• I’m too expensive. Especially for authors paying out of pocket. I am sympathetic to authors on a budget. I know that indexing can be expensive and that I am not the cheapest indexer around. I also don’t want to be the cheapest. I believe that the quality of my work and my years of experience is worth something. I am also mindful that I am freelancing in order to earn a sustainable income. So yes, I suspect that I am too expensive for some authors, and I’m okay with that. I see my pricing as a filter, because I know while some potential clients will find my quotes too high, others will find my quotes acceptable.
• The client doesn’t value or understand what indexing entails. This is also related to price, though not because the client is unable to pay. I sometimes get the sense, from what the potential client writes in their query or the questions they ask, that they see indexing as data entry. They don’t consider all of the analysis, skill, and time that goes into interpreting the text, selecting terms, and structuring the index and arrays. So my quote seems outrageously high for what, to them, seems like a simple and menial task. It is frustrating when potential clients don’t value or understand what it is I do, but I also don’t want to waste my time writing a terrible index to make a low price worthwhile. If the client and I can’t agree on the value of the index, then we are better off going our separate ways.

Those are the two main reasons why I think I get ghosted. But projects can also fall through for other ordinary and legitimate reasons. Here are four common ones I see.

• Another indexer responds first. Some authors contact multiple indexers and seem to choose the first indexer who replies. While this is incentive to reply quickly, I also find email incredibly distracting, so I’m okay losing out on the occasional project if it means I can carve out uninterrupted time to work.
• Going with a firmer yes. Some authors don’t have firm dates yet for the index when they contact me. This makes it difficult for me to give a firm yes, especially if my schedule is filling up and I’m concerned about overbooking. Whereas another indexer may have a freer schedule or more flexibility. Which I understand and no hard feelings from me. 
• An embedded index is needed. I don’t write embedded indexes, so once I realize what they need (which the author doesn’t always realize themselves), I need to reply and decline.
• My schedule is full. Sometimes I simply don’t have room and I need to say no. 

It still stings when I get rejected or ghosted by a potential client. There is a hit of validation when schedules align and the client decides to accept my quote. But I also recognize that I am in a privileged position. As someone running a one-person business, there is a limit to how many indexes I can write per month. The question becomes: how can I filter the offers and queries to find the best clients and projects to work with?

Part of the answer is pricing, as I already discussed. I am looking for clients with larger budgets.  Marketing—the information I put out about myself—is also important. Can I find projects and clients which align with my own interests? Cultivating long-term relationships with certain publishers and editors is also important to me, as I enjoy their books and they have provided a lot of work over the years.

If you are an experienced indexer and feel like you are drowning in work and queries, then maybe it is time to raise your prices. Some clients may leave, and that’s okay because you can’t serve everyone. Saying no to a potential client, or having a potential client say no to you, can sometimes be the best outcome because it leaves room for a better client and project to come along. Who do you most want to work with? Focus on attracting and serving those clients. 

If you are a newer indexer, what I am writing today may seem irrelevant. I remember being a new indexer with an empty schedule waiting for anyone to get in touch with any project. But as your experience and reputation grows, your schedule should begin filling up too and you will hopefully reach the point where you will need to turn down work. It helps to be prepared for that day, even if you just make a note at the back of your mind that that day is coming. Again, who do you want to work with? How can you adjust your pricing? A no to one project means a yes to something else. 

I feel like this anniversary has snuck up on me. Sales for Book Indexing: A Step-by-Step Guide have slowed over the last few months, but still plugging away at 5-8 copies per month. I probably could do more to market the book, though I find my attention elsewhere, and at a certain point, I think, you need to let books grow on their own. But I am still very proud for what I’ve accomplished writing and publishing Book Indexing. I occasionally hear from people that they have bought and read the book, which is always a lovely surprise and affirmation.

With the book out in the world for a full year, I thought this would be a fun opportunity to do a quick round-up on how the book has fared, as well as a good time to announce that the ebook version is once again on sale at Smashwords. 

Sales Update

Book Indexing has sold 206 copies to date, which I am thrilled about. I was really hoping to hit the 200 copy milestone within this first year. This breaks down to 106 print copies and 100 ebook copies. Ebook sales appear to be on the verge of overtaking print. Maybe Book Indexing can reach 300 copies by this time next year?

I find this breakdown between print and ebook interesting because I think it bucks a few different expectations. On the indie author side, my understanding is that the vast majority of sales tend to be ebook, though that may also be primarily for fiction. I am not sure what the numbers are for self-published nonfiction. While on the indexing side, most indexers I know are book people and like to own physical copies. So while I am not surprised at the number of print sales, I am a bit surprised at how print sales have slowed while ebook sales are holding steady. On the other hand, some of the ebook sales are from places like Japan, India, Serbia, and Australia, where I imagine it is more difficult or expensive to get a print copy. Whatever the reasons, I think I made the right decision to make the book available in both formats, and I’m happy that Book Indexing is finding its readers. 

Library Availability

I also recently checked Book Indexing in Worldcat and was surprised to see that it is available from five libraries, including public libraries in Greeley, CO; Richardson, TX; and Washington, DC. A huge thank you if you put in a word for me at your local library.

Libraries can order both the print and ebook versions. I think having the book available in libraries is a win-win for everyone. I still receive royalties for the sale and people can discover the book for free. If you’d like to see Book Indexing in your local library, please consider contacting your library and requesting it. I know my local library welcomes requests and yours probably does too. 

Marketing

I had a bit of momentum in the first six months or so after Book Indexing was publishing. I pushed past my fear of stuttering in public and completed two podcast interviews. The first was with Mark Leslie Lefebvre on his Stark Reflections podcast and the second was with Michelle Guiliano on the Freelance Indexer Exchange. 

I also received two positive reviews, from Daniel Heila in Key Words and Madelon Nanninga in The Indexer. I am so grateful for their feedback and kind words. With a book like this, I hoped it would be well received by my peers and colleagues, but it’s hard to predict. At least, I don’t want to assume. 

I also recently published an article in the June 2024 edition of The Indexer, in which I discuss my experience writing and publishing Book Indexing.

Otherwise, my focus has shifted. I still have my regular indexing workload. I recently presented at the Canadian indexing conference and am preparing to present again at another conference in a couple of months. I’ve also been getting back into writing fiction.

Looking ahead, one of my goals this year is to redo my website, which is badly out of date. Among other aspects to update, I want to better showcase my book and explain what it is all about. I am also thinking of taking, probably in the fall, Austin Church’s six-week Morning Marketing Habit course, to learn and develop better marketing habits, for both my indexing work and my book. For the time being, these are my two marketing goals going forward. 

Smashwords Summer Sale

If you are interested and haven’t yet picked up the ebook version, Book Indexing is once again 50% off at Smashwords.  The sale runs for the entire month of July. It’s hard to learn how to index for much cheaper. If you know of someone who would be interested, please feel free to share the link. Recommendations count for a lot.

Thank You

Thank you again for all of your support on this writing and publishing adventure. I wouldn’t be here—and Book Indexing wouldn’t be here—without your interest and encouragement. I am grateful to have you as a reader.

In my last two posts, I’ve written about marketing and money. Today I want to acknowledge that it also takes time to become established as a freelancer. And that time can feel painfully slow and leave you wondering if you are ever going to succeed.

The time and space on the way to being established can be described as the Dip. This is a concept I learned from Seth Godin, from his book The Dip: A Little Book that Teaches You When to Quit (And When to Stick). The book is indeed little, and I highly recommend it.

The idea is that there is always a Dip on the way to mastery and success. The Dip comes after the fun and excitement of learning a new skill or beginning a new venture. The Dip is the long slog towards success, wondering if anyone will hire you, wondering if your skills are good enough, wondering if your business is a failure. 

When it comes to indexing, I think the Dip can include the struggle to market and find work.  It is discouraging when you don’t know who to contact, no one seems to want to hire you, or when there are large gaps in your schedule between projects. The Dip can also include struggling to improve your skills. It takes practice to gain proficiency. If you are still struggling after the fifth or tenth index, doubt can creep in on whether you will ever get the hang of this. The Dip can also involve a project or client relationship blowing up in your face. Do you really have what it takes to run a business? Do you dare try again and accept a new project?

I want to assure you that yes, it is possible to get through the Dip. I also want to acknowledge that getting established is hard. I’ve often heard the rule of thumb that it takes about three years to become established as a freelancer. That was true for me. I noticed that the number of queries I was fielding seemed to pop in my third year, as did my income and the number of indexes I wrote. Though I also know other indexers who have found full-time work sooner, and others who are in the Dip for longer. The Dip varies from person to person, though everyone faces it one way or another. 

Godin writes that when in the Dip, you are faced with two choices. Do you quit, or do you persevere?

Quitting isn’t always bad. I knew an indexer, who started about the same time I did, who later quit indexing to focus on being an editor. They realized that they were better at editing, earned more from editing, and found editing more enjoyable, and so it made sense for them to quit indexing. Similarly, a few years ago I made the decision to quit proofreading, as indexing is a better fit for me. If indexing is not a good fit for you, or if freelancing is not meeting your needs and goals, then quitting might be the right decision. Quitting strategically is not failure. What I don’t want you to do is to quit because the Dip just feels too hard.

The trick to getting through the Dip is to keep moving. As Godin writes, “The Dip is flexible. It responds to the effort you put into it.” Keep practicing your skills and accepting new projects, knowing that each index is an opportunity to learn and improve. Keep marketing, reaching out to authors and publishers who might want to hire you. You never know who is going to write back. Keep networking with other indexers and editors, attending conferences and participating in online events and forums. You may gain a referral or advice for a sticky problem, or at least feel less lonely in the profession. Move through the Dip rather than being stuck at the bottom.

Lastly, be realistic about the fact that the Dip exists and that you may be in it. Whether it takes a year or three or more to get out of the Dip, it will be a stressful time, with a lot of uncertainty and doubt. It will take a lot of work to get out of the Dip. And that’s okay too, because the work you do now is laying the foundation for your future success.

It is possible to succeed as a freelance indexer. You can build the business that you desire. I believe that you can do it.

Publishing is a vast, global industry.

Where do you start?

It can feel overwhelming and paralyzing.

I also want to acknowledge that you may not have previously worked in publishing, so the inner workings of the publishing world may be even more opaque.

So, let’s start with demystifying publishing. Once you understand the industry a little better, the way forward with marketing may be clearer.

I’m going to share with you my top two rules, or insights, which have made the biggest difference for me when marketing and building my client base, and end with some additional tips.

Rule #1: You Don’t Need to Serve Everyone

It is impossible for you to serve everyone.

According to these statistics published last year by Wordsrated, approximately 3.52 million nonfiction books are published annually, worldwide. The proportion of English-language titles will be smaller, but still at least in the hundreds of thousands. How many of those books do you think you can index?

Personally, I index about 65 books per year. Your mileage may vary. I also turn down maybe another 20-30 books, mainly because I don’t have room in my schedule.

Another angle to consider is that the publishing industry is not monolithic. Yes, there are the Big Five trade publishers in New York and a few massive companies that dominate scholarly publishing. But many smaller companies also exist which publish excellent books. Publishing is also broken up by subject matter, with almost all presses and imprints focusing on different areas.

From a marketing standpoint, I found this realization to be incredibly freeing. Instead of being overwhelmed by the sheer number of publishers I could potentially contact, there are instead whole swaths of the industry that I can safely ignore. Don’t index science and engineering books? Great! I can cross all those publishers off of my list. Can’t find contact information for the editors at Penguin Random House? I’ll cross them off my list too. That still leaves many possibilities.

As you think about marketing, think about who you want to work with (or what kind of books you want to index) and also who you do not want to work with (or what kind of books you want to avoid). It can be scary to declare a niche, for fear of missing out on work. But having a few markets or topics that you focus on can have at least three benefits. One, it makes marketing less overwhelming because you now have a more manageable number of potential clients to contact. Two, it helps to clearly define who you are in the eyes of potential clients. Clients want to know that you are a good fit for their book, and one way to build that confidence is to give clients something specific about your experience and expertise. And three, it is nice to avoid having to repeatedly say no to projects which are clearly not a good fit. Be clear up front, and the people who do contact you are more likely to be of interest.

Rule #2: Build a Diverse Client Base

My second rule may seem to contradict my first rule. After telling you that you can ignore whole sectors of publishing, now I want you to go wide?

It is going wide enough to provide steady work. I don’t want you to be reliant on one or two clients for all of your work. I have worked with publishers who have been shut down or downsized. I have also lost work when editors I worked with left the company and my name wasn’t passed on to their successors (or maybe their successors already had their own preferred indexers). As wonderful as that first steady client may be, keep looking.

However, there is probably also a limit to how many clients you can reasonably handle. For myself, most of my work comes from the same dozen or so publishers, either being hired directly or from referrals from the in-house editors. Some publishers only send me one or two books per year. Others send me four or five, or even upwards of ten. All together, it adds up to a full schedule. If I lose a client, I find there are usually enough offers from other clients to compensate. New publishers also occasionally find me – or I find them – and get added to this mix.

Even if I worked for a truly large publisher who was willing and able to fill my schedule, I’d feel more secure with a diverse client base. Keeping my first rule in mind, I don’t need or want to work with everyone. I don’t even work with all of the publishers within my niches. But I still want that happy medium of work coming in from multiple sources.

Additional Marketing Tips

Building upon these two rules, here are some additional tips for marketing and finding indexing work.

• Look beyond New York and the Big Five. I’m sure someone indexes for the likes of HarperCollins and Macmillan, but those publishers can also be hard to reach. There are many smaller publishers outside of New York, which in my experience, can be easier to contact. Some editors also prefer to hire local. So, see if there are any publishers nearby, whether that means within your town or city, state or province, or region. Market yourself as a local indexer. If feasible, ask if you can stop by the publisher’s office to meet the managing editor. Attend local publishing or editing events to meet editors.
  
• Don’t be afraid to contact smaller publishers. Even if they only send you one or two projects a year, projects from several such clients can add up.
  
• Keep an eye out for new publishers. They may not yet have their stable of freelancers and may welcome you getting in touch.
  
• Identify the gatekeepers. Indexing is a niche task, and even within a publishing company, it is usually only one or two people (or more, depending on the size of the press) who actually hire or refer indexers. Those are the people that you want to contact. They usually have job titles like managing or production editors, though in some cases, acquisition editors may also refer indexers to authors.
  
• Identify and work your network. If you formerly worked in academia, tell all of those professors that you know, who are potential authors, that you are now an indexer. If you know someone in publishing, let them know as well. Attend local author, editing, and publishing events, and introduce yourself to people (which is scary, I know. But I’ve done it, and it can be a good way to meet people). Even if you feel disconnected from the publishing industry, tell everyone you know about your new career. Something will turn up.
  
• Be specific. As I mentioned earlier, clients want to know that you are a good fit. Be specific when discussing your interests and experience. It is okay to mention books that you have indexed for practice.  Or, if you have been hired by one publisher, mention that when contacting a new publisher. Show why you are a good fit.
  
• Be persistent and patient. Marketing is both a numbers game and a waiting game. Out of ten queries, you might get two or three responses. Or an editor might wait an entire year to get back to you (as happened once to me). Keep putting your name out there.

Most of this reflection has been aimed at marketing to publishers. That has been my primary marketing focus and it has worked for me. I kind of prefer working with publishers because, now that I have a good relationship with several, I don’t need to actively market anymore.

When I first started indexing, marketing directly to authors also felt completely overwhelming and unfathomable, and so I didn’t. However, I know some indexers, especially those with an academic background, who are able to successfully market to academic authors. Some indexers are also very good at asking for testimonials and referrals. So, it is also possible to market to authors and to primarily work with authors. As I discussed above, identify who you want to work with, what kind of books you want to index, and who you can access, and go from there.

Lastly, I want to acknowledge that marketing can be a slow process. It can take several months to find that first project. There may then be another gap until that second project, and then another year or two until your schedule is consistently full. That was my experience and the experience of many indexers I know. But it is absolutely possible to make those connections with authors and publishers and to find enough work to fill your schedule. Keep putting yourself out there. I believe that you can do it.

More recently, I have noticed pricing come up a number of times on some of the indexing email lists. One common theme is uncertainty over what prices to set—a position that all freelancers have probably been in at some point. Among more experienced indexers, there seems to be some anxiety about prices falling, as book production by some publishers is outsourced to third-party companies, often overseas. There is also a sense that we, as freelancers, have little control over prices, as in if we do not accept the prices offered, the client will walk. 

I disagree with this sense that we as freelancers lack agency and control over pricing. I agree that we cannot compel clients to pay a certain amount and that clients do have the right to walk, if they wish. However, to say that we have little control is to cede too much control to customers. I believe that we do have a measure of control and agency, and that this issue of price has two dimensions. The first is the actual prices that we set for our services and products. The second is the customers that we engage with, the ones who are paying us for our work. 

Know Your Customers

To address the second dimension first, obviously it is a problem if our customers are not paying the price that we want or need in order to make a living. What seems to be forgotten or not mentioned is that clients vary greatly from one to another, including what they are willing and able to pay. What a small trade press is willing to pay for an index may well be different from what a large trade press is willing to pay, which may be different from a university press, which may be different from a book packager, which may be different from an author paying out of pocket, which may be different from an author paying with a university grant, which may be different from a client in New York, which may be different from a client in rural Arkansas, which may be different from a client in Tokyo, which may be different from a client who is a single parent, which may be different from a client who is a pensioner, which may be different from a client who is the CEO of a business. 

So one consideration, if current clients are not meeting your financial needs, is to change clients. This can be difficult, but I believe that it is possible. Indeed, I believe that one of the advantage we have as small businesses is the ability to pick and choose who we work with, as we simply do not have the time and resources to work with everyone. If you find that prices are low in one segment of the publishing market, then find other segments that pay better. The publishing industry is not static or uniform, nor do you have to serve all segments.

Value-based Pricing

The other part of pricing, as mentioned, is the prices themselves. I do not have a background in business or pricing either, so I decided to do some reading and have so far found and read the book The 1% Windfall: How Successful Companies Use Price to Profit and Grow, by Rafi Mohammed (HarperCollins, 2010). I don’t claim to be an expert, but I did learn a few things which I think are applicable to our work as freelancers. 

First, let’s look at a traditional approach to pricing, which is what I recall being told when I asked around for advice when I first started freelancing. This approach is to figure out living and business expenses, and then charge enough to cover expenses plus a little extra. As Mohammed writes, a lot of large companies approach pricing this way too. The downside is that this approach can miss out on a lot of potential profit. For example, I may need to charge $40 per hour to cover expenses, but what if my client is actually willing to pay $60 per hour? This approach also implies that competitive advantage is primarily a matter of who has the lowest price, which means that whoever has the lowest cost of living or business—who can therefore afford to charge the least—wins. But again, this can lead to the person with the lowest price missing out on profits as not all clients are motivated by the lowest price. What this approach fails to consider is what it is the customer actually values.

Mohammed calls this focus on the customer value-based pricing. While earning enough to cover expenses is certainly important, I suspect that most clients don’t actually care all that much about our expenses. So in value-based pricing, the goal is to understand what the customer finds important in our service or product, and then to position our service or product to meet those values, with a price to match. The question about price switches from, how much do I need to make, to, how much is the customer willing to pay?

In addition to value-based pricing, Mohammed also discusses fifty different pricing strategies. I was also surprised at the variety. They are not all applicable for every business, and Mohammed’s suggestion is to find the handful or more that work for you. These strategies are divided into three broad categories—pick-a-plan, versioning, and differential pricing. These all have different goals, ranging from attracting new customers to setting premium prices, but collectively their purpose is to appeal to a wide variety of customers, who will each value your service or product in different ways. The idea is that by employing multiple strategies, you will appeal to different segments of the market, both higher and lower, resulting in a broader client base and likely more profit. 

As I was reading, some of the strategies stood out to me as possibly applicable for indexing. Some of them, I realized, I already use, though probably not as well or intentionally as I could be. (You may recognize some of them too.) So below are some ideas and comments on a few of the different methods. I make no guarantees as to their effectiveness, nor have I personally tried them all. This is just me brainstorming in public. Feel free to try some of these yourself and let me know how it goes. 

• Bundle indexing with other services, if you offer them. I sometimes do this with proofreading. It saves the client from having to find and coordinate with another freelancer, I get more income from the project, and the indexing is usually a bit easier because I have already read the book while proofreading. Because of the time saved, I may even give a small discount.
• Offer a flat fee. I remember Enid Zafran talking about this at the ISC/SCI conference this summer. A flat fee offers peace of mind to the client because it removes the uncertainty and trouble of having to calculate page rates or waiting for the proofs to be ready. Instead, do that work for the client and give them a single number.
• Offer to negotiate with the client to find a price that is mutually acceptable. I sometimes do this as well, and I really appreciate it when clients are willing to tell me what their budget is or if my initial quote is too high because that allows me to reconsider my offer. Maybe the project is still worth my while if I charge $100 less, for example.
• Offer different versions at different price points. I think the trick with this is being able to clearly articulate, and then deliver on, what the different versions of the index will look like, and how each version still contains value. A price-conscious client will be still be happy with the cheaper and lower quality index, while the client who values quality or who has deeper pockets may be willing to pay the premium price. 
• Offer priority indexing for a higher fee, or, conversely, a discount for being willing to wait. I think that rush fees are similar to this, which some indexers already charge. But not all clients are in a hurry, so some might be attracted by a discount where you fit their index in around other, more urgent, projects.
• Offer a financing plan, perhaps by splitting payment into two or more chunks. This might work for the client who wants the index but who does not have enough cash on hand. 
• Offer differential pricing based on client type or characteristics. This could work for either corporations or individual authors. Maybe clients who live in a big, expensive city, will be willing to pay more, while a senior citizen may appreciate a discount to afford an index on their pension. The variations can be endless, but if you can gain some insight into your potential client by looking for identifiable characteristics, you might be able to gauge how much they will be willing to pay.
• Offer periodic discounts or promotions, which could include the client paying an amount upfront to lock in the price for a future project. This may work best if you have a large enough client base to do a mass email or marketing blitz. 
• Guarantee prices for a fixed period of time. This could work with regular clients, and would eliminate the need to negotiate each time a project comes along, saving you both time. 
• Incorporate a success fee. This would involve charging an initial base price plus a bonus if the index meets a set standard. The hard part would be establishing the standard and evaluation method, but this might work for clients who are unsure if they want to take a risk on you. 

By this point you may be thinking, “Those are interesting (or terrible) ideas, but I just don’t need that many pricing strategies. How am I supposed to keep track of them all?” I agree that what I have listed here is probably more than is necessary for a single business. I do not plan on using all of them either. The point, though, is that we can be creative with how we price, and that different clients will respond to different strategies. A one-size-fits-all pricing strategy is a strategy for missed opportunities.

Setting Your Prices

To bring all of these ideas together, I want to suggest five steps for setting prices, which is a process I will be doing myself. 

1. Write a value statement. This is an exercise that Mohammed suggests in which you describe, in concrete detail, the value that your service or product provides. It is easy for conversations about price to be awkward, and I know I can feel embarrassed about making a profit, even though I obviously need an income to live on. But Mohammed suggests that a lot of this awkwardness can disappear if we can understand and articulate the value that we are offering. This knowledge can also make us more effective negotiators and defenders of our prices, because we understand the basis on which they are set. 
2. Analyze your clients. What do they value? Why are they coming to you, or more importantly, coming back to you? Why are they turning you down for alternatives? What are their next-best alternatives, and what value do you offer in comparison? You can also analyze potential clients that you might want to attract or reach out to. 
3. Analyze your prices. Based on what you know of your clients and of the value you provide, are your prices accurate? Should prices be higher? Lower? It is important to note that lower prices are not necessarily bad, as they can attract a different segment of the market, which could fill in gaps between higher priced projects or broaden your client base. You just need to make sure that those lower priced projects are still profitable and are not preventing you from accepting higher priced projects.
4. Develop a pricing strategy. As discussed, pricing can be as dynamic and varied as clients. Think through the clients you have or want, think about what pricing strategies may be attractive for them, select a handful, and see what works. 
5. Periodically review your prices and methods. Clients, the publishing industry, and the economy all change over time. To keep pace and stay profitable, you may at times need to change your prices and your clients. This is true for all businesses. So be willing to assess and reflect, and make changes as needed.

When it comes to price and who you work with, you do have a measure of control. It may take some work finding the right clients and determining the right prices, but it is possible to be a profitable indexer and freelancer.